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Seni Pertunjukan Sebagai Strategi Pencitraan Kota Studi Kasus Solo International Performing Arts (SIPA) Teti Darlenis
Lakon Jurnal Pengkajian & Penciptaan Wayang Vol 18, No 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/lakon.v18i1.4107

This research takes the title “PERFORMANCE ARTS AS A CITY IMAGING STRATEGY;Solo International Performing Arts (SIPA) Case Study. “The aim of this research is to understand the function and meaning of performing arts outside of artistic and aesthetic interests.In the context of this research, performing arts function as a city image strategy with a case study on the implementation of Solo International Performing Arts (SIPA).It is hoped that the SIPA performance will be able to become a city branding in Surakarta, which can then have multiple impacts or many benefits.

Internet-era patterns of protection and inheritance methods for Minangkabau talempong pacik music Teti Darlenis
International Journal of Visual and Performing Arts Vol 4, No 1 (2022)
Publisher : ASSOCIATION FOR SCIENTIFIC COMPUTING ELECTRICAL AND ENGINEERING (ASCEE)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31763/viperarts.v4i1.735

The preservation and transmission of talempong pacik music culture have a significant impact on the preservation of Minangkabau music culture. In addition, on a national scale, it contributes to the promotion of the healthy growth of the national culture. This research seeks to determine how the protection and inheritance model of the Minangkabau talempong pacik has evolved in the Internet era. The necessary data consist of (1) Minangkabau talempong pacik data and (2) talempong pacik inheritance pattern data. Literature review and observation of talempong pacik music performances on digital platforms such as YouTube, Instagram, and Facebook provided the data. The analysis is conducted by stressing the pattern resulting from the talempong pacik's maintenance and transmission. Ultimately, the results of this study show that the quality of talempong pacik's musical legacy will improve greatly as a result of the extensive and continuous use of new media to assist its preservation. New media used to study traditional talempong pacik music, including videos of talempong pacik performances, animation of talempong musical instrument games, and talempong pacik music software as a form of learning innovation, demonstrate that the quality of inheritance is highly adaptable to technological advancements

Pelatihan Karawitan dan Tari Gaya Minang Pada Sanggar Seni Sayuk Rukun Dukuh Girimulya Desa Tibayan Kecamatan Jatinom Kabupaten Klaten Teti Darlenis; Iwan Budi Santoso
Abdi Seni Vol 11, No 1 (2020)
Publisher : Institut Seni Indonesia Surakarta

Bangsa Indonesia dengan beragam kekayaan seni dan budaya yang ditemukan di berbagai pulau dari Sabang hingga Merauke adalah aset nasional yang luar biasa. Inilah identitas masing-masing daerah yang merupakan bagian dari Bangsa Indonesia. Stabilitas identitas daerah di Indonesia dibutuhkan untuk menangkal derasnya arus budaya asing di era globalisasi yang terkadang memiliki bagian-bagian yang tidak sesuai dengan kepribadian bangsa. Kegiatan Pengabdian Masyarakat adalah bagian dari cara untuk memperkuat identitas nasional di masyarakat.Musik dan tarian adalah bagian dari seni yang memiliki peran yang penting dalam pengembangan karakter kehidupan masyarakat. Keduanya adalah bentuk kekayaan budaya. Karawitan dan tarian yang tumbuh dan berkembang di Indonesia adalah kekayaan yang beragam, dan ada yang sesuai dengan budaya masyarakatnya. Untuk memperkuat dan menerapkan perlawanan terhadap derasnya budaya asing, peran Pengabdian Masyarakat dalam bentuk pelatihan musik dalam tari gaya Minang untuk masyarakat Jawa adalah kegiatan positif. Manfaat kegiatan Pengabdian Masyarakat pada akhirnya mampu mendominasi dan memperkaya kosakata seni antar daerah. Dengan demikian akan berdampak pada pengalaman dan pengetahuan masyarakat lain untuk belajar tentang budaya bangsa. Kata kunci : musik, tarian, budaya, identitas.

PEMBERDAYAAN MASYARAKAT MELALUI PELATIHAN MUSIK TERBANGAN PADA KELOMPOK MUSIK TERBANGAN MUSLIMAT NU KECAMATAN JATEN KABUPATEN KARANGANYAR Teti Darlenis
Abdi Seni Vol 9, No 2 (2018)
Publisher : Institut Seni Indonesia Surakarta

NU’ Ts erbangan Music Art Group in the Jaten Subdistrict of Karanganyar Regency is widely used for various purposes, such as celebrations, recitals, both public and commemorating Islamic holidays. The members consist of mothers who are members of the Muslimat recitation group NU District of Jaten. Problems encountered were that there were no trainers, no single vocals, and exercises that were not regularly scheduled. The results of the training in the form of the enthusiasm of the trainees are very high so that discipline of practice can be maintained; trainees are getting smarter in beating Terbangan instruments properly and being able to play a musical instrument playing pattern; and the music vocalist Terbangan can voice vocal songs correctly.Keywords: training, open music, NU, Jaten,

Keroncong Arrangement as an Expression of Freedom Congrock 17 Satria, Dioda; Setiawan, Aris; Darlenis, Teti
Resital: Jurnal Seni Pertunjukan Vol 25, No 1 (2024): April 2024
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v25i1.9462

This study aims to analyze the results of the arrangement of keroncong music performed by Congrock 17. Congrock 17 is a well-known progressive keroncong music group from Semarang City, Central Java, Indonesia. This study’s two musical works are the object of analysis: Keroncong Pemuda-Pemudi and Perdamaian. This study uses a musicological approach emphasizing the concepts of arrangement, freedom, expression, and musical form. These concepts determine how far Congrock 17 can create new characters and nuances in existing musical works. Musical considerations were made by Congrock 17 by keeping the fundamental nature of keroncong the same, especially in the use of musical instruments such as cak, cuk, bass, violin, and cello. As a result, the arrangement of old works by Congrong 17 was intended so that keroncong would develop more progressively, be liked by the younger generation, and avoid monotony.

FUNGSI MUSIK KALASON OTO SEBAGAI HIBURAN DALAM BUDAYA TRANSPORTASI MASYARAKAT SUMATRA BARAT Winaldo, Hafiz; Darlenis, Teti
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 17 No. 1 (2024)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v17i1.5533

In this research, the author uses the concept of music function from Alan P. Meriam. After understanding the problem of the function of music contained in oto kalason (literally: car horn), from this concept, it can be explained that oto kalason functioned as the only entertainment in West Sumatran society at that time (especially when traveling by bus), both inside traveling by oto-oto (buses) at that time, or in people's daily activities. The horns on public transport buses at that time could play songs, sing, even the profession of being a car horn player was quite promising at that time. This horn sound is what many people have been waiting for, a sound that is loved by many people. This is a genre that has long colored the lives of the people of West Sumatra and the transportation (buses) of that time.

FUNGSI MUSIK KALASON OTO SEBAGAI HIBURAN DALAM BUDAYA TRANSPORTASI MASYARAKAT SUMATRA BARAT Winaldo, Hafiz; Darlenis, Teti
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 17 No. 1 (2024): July
Publisher : Institut Seni Indonesia (ISI) Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v17i1.5533

In this research, the author uses the concept of music function from Alan P. Meriam. After understanding the problem of the function of music contained in oto kalason (literally: car horn), from this concept, it can be explained that oto kalason functioned as the only entertainment in West Sumatran society at that time (especially when traveling by bus), both inside traveling by oto-oto (buses) at that time, or in people's daily activities. The horns on public transport buses at that time could play songs, sing, even the profession of being a car horn player was quite promising at that time. This horn sound is what many people have been waiting for, a sound that is loved by many people. This is a genre that has long colored the lives of the people of West Sumatra and the transportation (buses) of that time.

CREATIVITY AND THE ROLE OF NINIEK DARYONAGORO IN UTILIZING USED GOODS INTO MUSIC IN SURAKARTA Anggara, Refa Tri; Teti Darlenis
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 18 No. 1 (2025): July
Publisher : Institut Seni Indonesia (ISI) Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v18i1.7579

The research entitled "Creativity and Niniek's Role in Utilizing Used Goods into Music in Surakarta" is based on the phenomenon of the emergence of sounds from used goods. Innovation in engineering used goods and arrangement techniques carried out by Niniek are interesting aspects to be studied further. This research uses a qualitative method with a phenomenological approach, with Niniek S.M Daryonagoro as the main subject. To answer the formulation of the problem, this study utilizes Rhodes 4P creativity theory (person, process, press, and product) and the concept of individual roles according to Setyadi. The final stage after going through the analysis found several conclusions. Niniek's background growing up in an art environment played an important role in encouraging her creativity in developing music based on used goods. Niniek's consistency and creativity are reflected in the historical journey of the presence of used goods music. In addition, Niniek's role has been proven to be able to increase the interest of students and the Surakarta community in music, as well as providing indirect education regarding the use of used goods as a music medium through the performances held.

TAMAR JAYA'S ACTIVISM IN STRENGTHENING AND PRESERVING ENREKANG MUSIC CULTURE IN SOUTH SULAWESI Ilham, Ilham; Aji Manggala, Bondan; Darlenis, Teti
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 18 No. 2 (2025): December
Publisher : Institut Seni Indonesia (ISI) Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar

This article explores the contributions of Tamar Jaya as an art activist committed to advocating for the preservation of traditional music in Enrekang, a region characterized by its remoteness and lack of external support. This study applies a qualitative methodology, utilizing a character study framework based on Abdul Mustakim. It incorporates a historical lens and individual life narratives to explore his life journey, intellectual contributions, original concepts, and the socio-historical backdrop that influenced his activism. The findings indicate that Tamar Jaya's decisions are shaped by an intellectual wisdom acquired after higher education, which fosters a critical viewpoint on the stagnation within the arts ecosystem in South Sulawesi. This perspective particularly highlights the deficiencies in life skills among artists and the fluctuating political commitment from the local government. His activism unfolded in two strategic phases: an initial decade-long grassroots initiative (Gerakan Akar Rumput) aimed at revitalizing communal traditions, followed by a shift towards embodying a cultural survivor through the adoption of a hybrid Artist-Farmer model, characterized by a nuanced approach to political engagement. This study can be used to describe the Tamar Jaya activism movement as a model of cultural-political management, which aims to maintain and disseminate the existence of marginalized arts and culture by optimizing management skills, networks, and funding literacy.

MENGENAL MUSIK TRADISIONAL TALEMPONG PACIK DI MINANGKABAU Teti Darlenis
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 6 No. 2 (2006)
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v6i2.593

Minangkabau society have several kinds of talempong ensemble music, such as Talempong Pacik, Talempong Unggan, Talempong Batu, Talempong Jao, Talempong Batuang, Talempong Sambilu, and Talempong Kayu, also other kinds of talempong. Among the ensembles, talempong pacik is the most popular It grows and is developed all over the countries, and becomes a musical identity of the society. The way ofplaying the instruments is by holding them, that ~ why it is called pacik, literally means being held. Every group of talempong ensemble have thefr own repertoire of songs, which is influenced by the back ground of the local composer And therefore it becomes the pride of the country and functions to entertain the society in ritual and social activities.Keyword:Â Talempong Pacik, interlocking technic, nagari

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