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MAKNA DAN SIMBOL GERAK TARI RADDAT KOKO DI DESA SEKUDUK KECAMATAN SEJANGKUNG KABUPATEN SAMBAS Hastuti, Liza; Istiandini, Winda; Silaban, Chiristianly Yery
Jurnal Pendidikan dan Pembelajaran Khatulistiwa Vol 6, No 12 (2017): Desember
Publisher : Jurnal Pendidikan dan Pembelajaran Khatulistiwa

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Â AbstractÂ This research background is to know about txhe meaning and symbol of dance movement Raddat Koko. The purpose of this research are 1) to describe the symbol in dance movement Raddat Koko in Sekuduk Village Sejangkung District Sambas Regency, 2) to describe the meaning in dance movement Raddat Koko in Sekudduk Village SejangkungSubdistrict Sambas District, 3) to describe the implementation of symbols and meaning of dance movement Raddat Koko in grade X SMA Negeri 1 Selakau on the subjects of Art Culture. The motion is, among others, the hormat motion, ancang-ancang 1, ancang-ancang 2, ancang-ancang 3, the menyerang motion 1 and menyerang 2. Motivation presents a symbol of respect that has meaning of homage to the audience who has been present. Ancang-ancang 1 presents a stalking symbol that has the meaning of stalking the place where the Dutch weapons hide. Ancang-ancang 2 presents a ready-to-play symbol that has the meaning of making a square off to move to a Dutch-owned hideout. Ancang-ancang 3 presents a preparatory symbol for an attack that has the meaning of performing the planned motion against the enemy. Menyerang 1 presents a symbol ready to fight against an opponent who has a ready-to-war meaning. Menyerang 2 represents the already attacking symbol has the meaning of war with unyielding.Â Keywords: meaning, symbol, motion, Raddat Koko traditional dance.

MINAT MASYARAKAT DUSUN SEGURI MERAH AIR TERHADAP MUSIK TRADISIONAL GENDANG SEDAYUNG SUKU DAYAK KETUNGAU SESAEK Arsen, Petrus; Mering, Aloysious; Silaban, Chiristianly Yery
Jurnal Pendidikan dan Pembelajaran Khatulistiwa Vol 6, No 12 (2017): Desember
Publisher : Jurnal Pendidikan dan Pembelajaran Khatulistiwa

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AbstractThis research is motivated by presence traditional music Gendang Sedayung in Seguri Merah Air Hamlet Sekadau Regency. This study is about the interest of Seguri Merah Air Hamlet Cociety against traditional music Gendang Sedayung Dayak Ketungau Sesaek Tribe. The study was conducted in Seguri Merah Air Hamlet, Village of Peniti, District of Sekadau Hilir, Sekadau Regency. This research uses descriptive-qualitative research. The obtained data through this research is the fact about the efforts of Seguri Merah Air Hamlet Cociety in maintaining the interest of Seguri Merah Air Hamlet cociety against Music Gendang Sedayung, the pattern wasp of Music Gendang Sedayung Dayak Ketungau Sesaek Tribe, and the implementation of Music Gendang Sedayung in the school. On the strength of data analysis, it can be summarized as follows; (1) The interest of Seguri Merah Air Hamlet Cociety against Music Gendang Sedayung is "high". (2) The pattern wasp of Music Gendang Sedayung Dayak Ketungau Sesaek Tribe is "A-A". (3) Music Gendang Sedayung can be implemented in schools using the curriculum in 2013.Keywords : Interest, Music, Gendang Sedayung.

STUDI ORGANOLOGI ALAT MUSIK BERUAS DI KELURAHAN SIANTAN TENGAH KECAMATAN PONTIANAK UTARA KOTA PONTIANAK Ilham, Gusti Muhamad; Ismunandar, Ismunandar; Silaban, Chiristianly Yery
Jurnal Pendidikan dan Pembelajaran Khatulistiwa Vol 8, No 3 (2019): Maret 2019
Publisher : Jurnal Pendidikan dan Pembelajaran Khatulistiwa

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AbstractThis study aimed to investigate the process of creating Beruas musical instrument, particularly analyzing structure and playing this traditional instrument in central Siantan village, North Pontianak. The purpose of this study was to find out the structure of Beruas musical instrument and to learn how to play it properly in producing good sound. The method used in this study was descriptive method; with qualitative research forms and organology approaches. The data included the observation sheet, documentation and journals about the process of creating the musical instrument. The respondent of this study wasSuhaili, Anwar Dja'far. Besides, several interviews were conducted together with the observation and documentation activities. Researcher also took part as the main instrument in collection.Validity of the data was an extension of observation and triangulation techniques. The analysis was done during and after the data collection. Beruas musical instrument was the result of an acculturation from the Middle Eastern culture, which was found through a trade and the spread of Islam Indonesia itself, there were various forms, sizes and types of Beruas these archipelago regions. However, the researcher only focused on the organological Study of Beruas instrument in central Siantan subdistrict, North Pontianak, which was made by Suhaili. Keywords: Beruas Musical Instrument, Beruas Organology, organology study

POLA TABUHAN TUMAâ€™ DALAM RITUAL BASUAYAK SUKU DAYAK KANAYATN DI DESA CAPKALA KECAMATAN CAPKALA KABUPATEN BENGKAYANG Arbilianto, Arbilianto; Ghozali, Imam; Silaban, Chiristianly Yery
Jurnal Pendidikan dan Pembelajaran Khatulistiwa Vol 8, No 10 (2019): Oktober 2019
Publisher : Jurnal Pendidikan dan Pembelajaran Khatulistiwa

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AbstractThe background of this research is the decrease of youth generationâ€™s interest to the traditional art as ancestorsâ€™ heritage so that appear the effort to conserve the traditional musical where one of them is almost extincted and unknown by their society. The purpose of this research is to describe the pattern of Tumaâ€™ percussion in Basuayak tradition to Dayak Kanayatn tribe in Capkala village, Capkala district, Bengkayang regency. The method of this research is Descriptive method in qualitative form through Ethnomusicology Approach. The research data is (1) the performance of percussion pattern in Basuayak tradition. (2) The instrument of Dau Weâ€™, Dau Anak dan Tumaâ€™. (3) The musical structure of Basuayak theme, motive, musical measure, tone, tempo, dynamics and phrase. The result of this research is (1) there are two musical instruments used into Pulo Pinang art, they are eight Dau and Gong with three pattern of Tumaâ€™ percussion, Bawakng pattern, Jubata pattern, batu berapi pattern. (2) The notation of Bawakng percussion, Jubata percussion, and batu berapi percussion uses musical score in Bar notation form. Keywords: Pulo Pinang, Music Structure

STRUKTUR MUSIK KONCONG DI DESA BABANE KECAMATAN SAMALANTAN KABUPATEN BENGKAYANG Asari, Wiwi; Istiandini, Winda; Silaban, Chiristianly Yery
Jurnal Pendidikan dan Pembelajaran Khatulistiwa Vol 8, No 3 (2019): Maret 2019
Publisher : Jurnal Pendidikan dan Pembelajaran Khatulistiwa

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AbstractThis research was motivated there is not provision of the punch pattern and koncong music melody, making the researcher interested in conducting the research on the structure of Koncong music in Babane Village, Samalantan District, Bengkayang Regency. The purpose of this research was to describe the structure of Koncong music in Babane Village, Samalantan District, Bengkayang Regency. The research method was descriptive method. The research design was qualitative. The data of this research were the results of interviews, observations, the results of documentation and field note regarding the Koncong music. The data collecting techniques of this research were observation, direct communication and documentary study. The data collecting tools of this research were researchers as the main instruments, interview guidelines, observation guidelines and documentation tools. The validity of the data testing techniques were extension of observation, and the source triangulation.The data analysis technique of this research was data reduction, data presentation, and conclusion.The results of this research indicated that Koncong music uses the B Major scale was played with 4/4 of the time and the tempo of Moderato.This research result can be option for a teaching material in culture arts learning in Junior High School.Keywords: Koncong, Music, Structure

ANALISIS ORGANOLOGI ALAT MUSIK GINGGONG PADA SUKU DAYAK BAKATI RARA KABUPATEN BENGKAYANG Gresni, Gresni; Istiandini, Winda; Silaban, Chiristianly Yery
Jurnal Pendidikan dan Pembelajaran Khatulistiwa Vol 8, No 3 (2019): Maret 2019
Publisher : Jurnal Pendidikan dan Pembelajaran Khatulistiwa

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AbstractThis research motivated by the uniqueness musical instrument and make musical, ginggong. The purpose of this study was to describe the ingredients and methods of making a musical instrument, describing how to play a musical instrument, describing the design of the implementation of a musical instrument. the theory used is music. Method was needed in the form of a qualitative approach to organology. The data sources used were three sources and one validator with observation techniques, interview techniques, documentation techniques. The validity of the data used three types of triangulation. The results of this study were the basic ingredients of the musical instrument Ginggong are palai wood, bamboo tareng, k, bamboo gare, gumang wood, paradis rattan, branch twigs, bamboo pasa, goat skin. The way to play the ginggong musical instrument in a sitting position on the floor of the foot is stretched and the ginggong the musical instrument body while holding down the strings.The results of this implementation design study are expected to help every teacher in educating students in planting character, social values and knowledge of arts and culture owned by the local area to instill a sense of tolerance and responsibility.Keywords: Ginggong, Music and Art, Traditional Musical InstrumentsÂ Â Â

STRUKTUR MUSIK PULO PINANG DI DESA MENJALIN KECAMATAN MENJALIN KABUPATEN LANDAK Robertus, Venansius; Djau, Nurmila Sari; Silaban, Chiristianly Yery
Jurnal Pendidikan dan Pembelajaran Khatulistiwa Vol 8, No 10 (2019): Oktober 2019
Publisher : Jurnal Pendidikan dan Pembelajaran Khatulistiwa

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AbstractThe lack of peopleâ€™s interest in recognizing and learning traditional music, the inappropriateness of the beats modifications that eliminate its original beats, and the great effect of music creation that uses various beats rather than the traditional music that uses monotone beats have been the concern in this study. As a result, the traditional music that should be their identity has become neglected. The purpose of this thesis is to describe the music structure of Pulo Pinang in Menjalin Village, Menjalin District, Landak Regency and Describe the design of the results of research on the structure of Pulo Pinang music in the Menjalin Village, Menjalin District, Landak Regency in school. This is qualitative research using the descriptive method with the ethnomusicology approach. The data in this study were (1) the performance of Pulo Pinang music as competition in a traditional eventÂ Naik Dango, (2) Musical instrument Dau, Gong, Tumaâ€™, and Solekng, and (3) the structure of Pulo Pinang music. themes, motifs, bars, scale, bars, tempo, dynamics, and phrases. The findings show that there are 4 musical instruments used in Pulo Pinang music. They are 8 units of Dau, 3 units of Gong, 1 unit of Tumaâ€™, and 1 unit of Solekng. The music uses a block notation in the form of partiture. The result of the study was implemented into a lesson plan, providing a learning material discussing the history of Pulo Pinang music, the musical instruments used in the music, and the procedures of playing the musical instruments in the group. The results of this research can be applied to music art lessons for the subjects of Culture and Arts and Skills in VIII Middle School with Strandar Competencies.Keywords: Pulo Pinang, Music StructureAbstractThe lack of peopleâ€™s interest in recognizing and learning traditional music, the inappropriateness of the beats modifications that eliminate its original beats, and the great effect of music creation that uses various beats rather than the traditional music that uses monotone beats have been the concern in this study. As a result, the traditional music that should be their identity has become neglected. The purpose of this thesis is to describe the music structure of Pulo Pinang in Menjalin Village, Menjalin District, Landak Regency and Describe the design of the results of research on the structure of Pulo Pinang music in the Menjalin Village, Menjalin District, Landak Regency in school. This is qualitative research using the descriptive method with the ethnomusicology approach. The data in this study were (1) the performance of Pulo Pinang music as competition in a traditional eventÂ Naik Dango, (2) Musical instrument Dau, Gong, Tumaâ€™, and Solekng, and (3) the structure of Pulo Pinang music. themes, motifs, bars, scale, bars, tempo, dynamics, and phrases. The findings show that there are 4 musical instruments used in Pulo Pinang music. They are 8 units of Dau, 3 units of Gong, 1 unit of Tumaâ€™, and 1 unit of Solekng. The music uses a block notation in the form of partiture. The result of the study was implemented into a lesson plan, providing a learning material discussing the history of Pulo Pinang music, the musical instruments used in the music, and the procedures of playing the musical instruments in the group. The results of this research can be applied to music art lessons for the subjects of Culture and Arts and Skills in VIII Middle School with Strandar Competencies.Â Â Keywords: Pulo Pinang, Music Structure

KOMPETENSI PROFESIONAL GURU SENI BUDAYA ALUMNI PRODI PENDIDIKAN SENI PERTUNJUKAN FKIP UNTAN DALAM PEMBELAJARAN SENI MUSIK DI SMP KABUPATEN BENGKAYANG Ghozali, Imam; Olendo, Yudhistira Oscar; Silaban, Chiristianly Yery
Eduscience : Jurnal Ilmu Pendidikan Vol 6, No 2 (2021): EDUSCIENCE : Jurnal Ilmu Pendidikan
Publisher : Universitas Esa Unggul

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AbstractThis study aims to analyze and describe the professional competence of cultural arts teacher alumni of the FKIP UNTAN Performing Arts Education Study Program in learning the art of music at SMP Bengkayang Regency. This research uses qualitative methods with the form of Interpretative Analytical research. The main data source in this study was a cultural arts teacher at SMP Untan Performing Arts Study Program, FKIP Untan in Bengkayang Regency. This research involved 2 cultural arts teachers from different schools. Learning Arts and Culture has a function and purpose to develop students' attitudes and abilities in work and appreciation. One aspect of the Cultural Arts subject is the art of music which includes the ability to master vocals, play music, and appreciate music. Music teaching is teaching about sound. Teaching music can provide meaningful understanding and understanding if students / students have lived the function of the musical elements themselves in the songs they are learning. In order to gain meaningful understanding, the musical elements must be provided through musical experience activities. Teacher competence can be seen from the quality of the teacher in the process of carrying out his role as a teacher according to his function, role and function, for example in the process of learning music. A teacher at least has professional competence, whether skilled at playing a musical instrument or being able to sing with tonal accuracy. The cultural arts teacher who is an alumni of the FKIP UNTAN Performing Arts Education Study Program has shown professional competence, namely at SMP Negeri 1 Bengkayang, the teacher is capable of playing musical instruments, giving good examples, and teaching material that is in accordance with KD. Furthermore, at SMP Borneo Bengkayang, the arts and culture teacher has also shown professional competence in singing, which is also related to unisono singing material. The teacher looks good at giving examples according to the material that has been made in the form of lesson plans. The ability of teachers of cultural arts (music arts) who are also alumni of the FKIP UNTAN Performing Arts Education Study Program in developing materials, delivering material, managing classes, the methods used, and the techniques used are optimal.Â Keywords: professional competence, music arts education, cultural arts teacherÂ AbstrakPenelitian ini bertujuan untuk menganalisis dan mendeskripsikan kompetensi profesional guru seni budaya alumni Prodi Pendidikan Seni Pertunjukan FKIP UNTAN dalam pembelajaran seni musik di SMP Kabupaten Bengkayang. Penelitian ini menggunakan metode kualitatif dengan bentuk penelitian Analitik Interpretatif. Sumber data utama dalam penelitian ini adalah guru seni budaya SMP alumni Prodi Seni Pertunjukan FKIP Untan di Kabupaten BengkayangÂ Penelitian ini melibatkan 2 orang guru seni budaya yang berasal berbagai sekolah yang berbeda. Pembelajaran Seni Budaya memiliki fungsi dan tujuan untuk mengembangkan sikap dan kemampuan siswa dalam berkarya dan berapresiasi. Salah satu aspek pada mata pelajaran Seni Budaya adalah seni musik yang mencakup kemampuan untuk menguasai vokal, memainkan aat musik, dan mengapresiasi karya musik. Pengajaran musik adalah pengajaran tentang bunyi. Pengajaran musik dapat memberikan pengertian dan pemahaman yang bermakna apabila peserta didik/siswa telah menghayati fungsi unsur-unsur musik itu sendiri dalam lagu yang dipelajarinya. Untuk memperoleh pemahaman yang bermakna, unsur-unsur musik itu harus diberikan melalui kegiatan pengalaman musik. Kompetensi guru dapat dilihat dari kualitas guru dalam proses menjalankan perannya menjadi seorang guru sesuai dengan fungsi, peran, dan fungsinya, misalnya dalam proses pembelajaran musik. Seorang guru paling tidak memiliki kompetensi profesional baik terampil memainkan alat musik ataupun dapat bernyanyi dengan ketepatan nada. Guru seni budaya yang merupakan alumni Program Studi Pendidikan Seni Pertunjukan FKIP UNTAN sudah menunjukan kompetensi profesionalnya yaitu di SMP Negeri 1 Bengkayang, guru sudah mumpuni memainkan alat musik, memberikan contoh dengan baik, dan mengajarkan materi yang sesuai dengan KD. Selanjutnya, di SMP Borneo Bengkayang, guru seni budaya juga telah menunjukkan kompetensi profesionalnya dalam hal menyanyi, yang juga terkait materi bernyanyi secara unisono. Guru terlihat piawai memberikan contoh sesuai dengan materi yang telah dibuat dalam bentuk RPP. Kemampuan guru mata pelajaran seni budaya (seni musik) yang juga sebagai alumni Program Studi Pendidikan Seni Pertunjukan FKIP UNTAN dalam mengembangkan materi, menyampaikan materi, mengelola kelas, metode yang digunakan, serta teknik yang digunakan sudah optimal.Â Kata kunci : Kompetensi Profesional, Pendidikan Seni Musik, Guru Seni Budaya

Analysis of Wave Tusing Patterns In Hadrah Art In Lubuk Dagang Village, Sambas District Nurizki, Elvin; Olendo, Yudhistira Oscar; Silaban, Chiristianly Yery
International Journal of Learning and Instruction (IJLI) Vol 6, No 1 (2024): April 2024 Volume 6 Number 1 2024
Publisher : Universitas Tanjungpura

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26418/ijli.v6i1.79115

This study discussed the arts in Sambas, West Kalimantan, namely hadrah singing poetry praising the greatness of God and the 'Wave' drum pattern and techniques for playing the "Wave" drum pattern in the Hadrah art in Lubuk Dagang Village, Sambas Regency. The problem in the research is how the 'Wave' Drum Pattern and the Technique for Playing the 'Wave' Beat Pattern in Hadrah Art in Lubuk Dagang Village, Sambas Regency. The method in this research is descriptive analysis in the form of qualitative research. The approach used in this research is musicological. The data sources in this research are the results of interviews with various artists and actors in the "Hadrah" "Lubuk Dagang" arts, namely Afdan, Marzuki, and Iman. The data collection tools for this research are interview guides, observation guides, notebooks, and cameras. The technique for testing the validity of the data in this research is triangulation and extended observations. The result of this research is the "Wave" drum pattern using a 4/4-time signature. The instrument used in this game is tahar/tar. The drum pattern is parent, one child and two children. The "main" tahar functions to maintain the tempo and build rhythmic patterns which are formed into a variety of drumming patterns, the "child 1" tahar functions to interrupt the "main" tahar while the "child 2" tahar has a drum pattern that alternates between the "main" tahar and the "parent" tahar. Child 1". The number of players consists of 3 to 5 people depending on the agreement that has been agreed on how many musicians and poets are desired in the performance. Conclusion Tahar is a traditional percussion musical instrument. The sound source of this instrument comes from a flat, circular membrane or skin with a combination of rattles on the sides of the musical instrument. Keywords: Analysis, Wave Tusing Patterns, Hadrah

ANALISIS POLA TABUHAN BERUAS PADA MUSIK IRINGAN TARI JEPIN TALI BINTANG DI DESA KALIMAS KECAMATAN SUNGAI KAKAP KABUPATEN KUBU RAYA Saprani, Saprani; Silaban, Chiristianly Yery
TACET Jurnal Pendidikan dan Kajian Seni Vol 3, No 2 (2024): Oktober 2024
Publisher : Universitas Tanjungpura

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26418/tacet.v3i2.86570

Marching Band Bahana Kirana is one of the extracurricular activities that is very popular at Darussalam Sengkubang Islamic Boarding School. In addition, the achievements that have been obtained by Bahana Kirana Darussalam Sengkubang have also reached the West Kalimantan Province level in the highest percussion category. Therefore, the purpose of this research is to find out the basic learning of snare drums in basic double strokes in the extracurricular activities of the Marching Band Bahana Kirana. The method used is qualitative research with purposive sampling model data sources on the Head of Darussalam Sengkubang Islamic Boarding School, marching band coach, and snare drum players. Data collection was used with interview, observation, and documentation techniques. Data analysis uses reduction, presentation, and conclusion drawing and data validity techniques used by Sugiyono's extended observation and data triangulation model. The results revealed that the double stroke technique is a basic pattern commonly played and trained by the Bahana Kirana Marching Band. In addition, warming up is also important before doing a basic double stroke, in this case warming up is done in physical form and percussion instruments (snare drum). The important point of this research is that although the double stroke is a basic stroke, at least with the results of regular training and sufficient physical and instrumental warm-ups, it can produce optimal and maximum learning objectives.

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