Article Per Year (5 Year)
p-Index From 2020 - 2025
0.817
P-Index
This Author published in this journals
All Journal Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Panggung Sorai: Jurnal Pengkajian dan Penciptaan Musik
Yanuar, Dani
Unknown Affiliation
Arts Humanities Education

Published : 4 Documents Claim Missing Document
Claim Missing Document
Check
Articles

Found 4 Documents
Search

 1 
Konstruksi Konsep Ngocéh dalam Permainan Rebab Topeng Betawi Yanuar, Dani
PANGGUNG Vol 30, No 3 (2020): Pewarisan Seni Budaya: Konsepsi dan Ekspresi
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1779.608 KB) | DOI: 10.26742/panggung.v30i3.1266

Abstract

ABSTRACTNgocéh is a series of rebab melodies that are played quickly with infense intensity of tone production. Ngocéh is a measure of beauty in the Topeng Betawi rebab performance. The study aims to: (1) reveal the constraction of the ngocéh concept in the Topeng Betawi rebab performance; (2) explain about ngocéh practice in Topeng Betawi rebab performance. To answer these problems, the ethnoart approach is used. This study uses qualitative methods, with a description strategy in the form an emic and ethical perspective. The result of this study shows: (1) the strength of Topeng Betawi show lies in the composition of the rebab performance; (2) there are six components that underlie the formation of the concept of ngocéh, that is: jengér, akur, tandes, sébet, kerep, apal, sautan, and rasa; (3) the most important thing in ngocéh in Topeng Betawi rebab performance is the finger segment skill called utikan. Utikan greatly influences the level of flexibility of finger movement, to optimize aspects of tone speed and density. Keywords: Rebab Topeng Betawi, Ngocéh, Ethnoart.ABSTRAKNgocéh merupakan rangkaian melodi permainan rebab yang disajikan secara cepat dengan intensitas produksi nada yang rapat. Ngocéh menjadi ukuran capaian keindahan dalam permainan rebab Topeng Betawi. Studi ini bertujuan untuk: (1) mengungkap konstruksi konsep ngocéh dalam permainan rebab Topeng Betawi, (2) menjelaskan tentang praktik ngocéh dalam permainan rebab Topeng Betawi. Pendekatan ethnoart digunakan untuk menjawab permasalahan tersebut. Penelitian ini menggunakan metode kualitatif dengan strategi pendeskripsian digunakan perspektif emik dan etik. Hasil penelitian menunjukkan bahwa: (1) kekuatan karakter musikal dari sajian kesenian Topeng Betawi terletak pada komposisi permainan instrumen rebab; (2) terdapat enam komponen yang mendasari terbentuknya konsep ngocéh, yaitu: jengér, akur, tandes, sébet, kerep, apal, sautan, dan rasa; dan (3) yang ditekankan pada praktik perwujudan ngocéh pada permainan rebab Topeng Betawi adalah keterampilan utikan ruas jari. Utikan ini berpengaruh sangat besar terhadap tingkat fleksibilitas gerak jari untuk memenuhi aspek kecepatan dan kerapatan nada secara optimal. Kata Kunci: Rebab Topeng Betawi, Ngocéh, Ethnoart
APROPRIASI MUSIK KELOMPOK REBANA KASUKA NADA Nuuriyah Tarjono, Siti; Kuwat; Yanuar, Dani
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 17 No. 1 (2024)
Publisher : Institut Seni Indonesia (ISI) Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v17i1.5293

Abstract

This research discusses the reasons related to the thoughts of the Kasuka Nada tambourine group in choosing musical appropriation in their performances. Tambourines are mostly dominated by percussion instruments such as flying, but now tambourine music has experienced developments in innovation in terms of music media and song repertoire using adaptations of songs popularized by other singers, and adapting other people's works. This form of tambourine music innovation is called appropriation. The purpose of this study is to describe the process of appropriating music in the Kasuka Nada tambourine group, to describe the factors that influence the Kasuka Nada tambourine group in appropriating, to analyze the musical results of the Kasuka Nada tambourine group's musical appropriation, and to describe how the Kasuka Nada tambourine group performs. . This research was conducted using a qualitative descriptive analysis method, by way of describing the existing facts and then proceed with the analysis. The method used in this study is divided into four stages, namely data collection, data processing, data analysis, and drawing conclusions. The theoretical basis used to dissect this research is the theory of appropriation and performance theory. Based on the data analysis conducted, it was concluded that the purpose of the tambourine group appropriating is to preserve and maintain the continuity of tambourine music. Presenting trending songs and those that are liked by the public and then changing the lyrics to the theme of goodness and commendable teachings which are inserted with prayers are the hallmarks of the Kasuka Nada tambourine group, and there are internal and external factors that influence the Kasuka Nada tambourine group in appropriation of music.
APROPRIASI MUSIK KELOMPOK REBANA KASUKA NADA Nuuriyah Tarjono, Siti; Kuwat; Yanuar, Dani
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.v17i1.5293

Abstract

This research discusses the reasons related to the thoughts of the Kasuka Nada tambourine group in choosing musical appropriation in their performances. Tambourines are mostly dominated by percussion instruments such as flying, but now tambourine music has experienced developments in innovation in terms of music media and song repertoire using adaptations of songs popularized by other singers, and adapting other people's works. This form of tambourine music innovation is called appropriation. The purpose of this study is to describe the process of appropriating music in the Kasuka Nada tambourine group, to describe the factors that influence the Kasuka Nada tambourine group in appropriating, to analyze the musical results of the Kasuka Nada tambourine group's musical appropriation, and to describe how the Kasuka Nada tambourine group performs. . This research was conducted using a qualitative descriptive analysis method, by way of describing the existing facts and then proceed with the analysis. The method used in this study is divided into four stages, namely data collection, data processing, data analysis, and drawing conclusions. The theoretical basis used to dissect this research is the theory of appropriation and performance theory. Based on the data analysis conducted, it was concluded that the purpose of the tambourine group appropriating is to preserve and maintain the continuity of tambourine music. Presenting trending songs and those that are liked by the public and then changing the lyrics to the theme of goodness and commendable teachings which are inserted with prayers are the hallmarks of the Kasuka Nada tambourine group, and there are internal and external factors that influence the Kasuka Nada tambourine group in appropriation of music.
Traditional Sundanese Music as a Medium for Environmental Advocacy: A Case Study of the Song Kuring Leungiteun in the Context of the Global Ecological Crisis Budiman, Arif; Yanuar, Dani; López-Lara, Ángela
Resital: Jurnal Seni Pertunjukan Vol 26, No 1 (2025): April 2025
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v26i1.15316

Abstract

Kajian ini mengeksplorasi Kuring Leungiteun , sebuah lagu tradisional Sunda, sebagai media advokasi ekologis melalui dimensi musikal, puitis, dan kulturalnya. Dengan menggunakan desain studi kasus instrumental kualitatif, penelitian ini mengeksplorasi bagaimana arsitektur komposisi—khususnya melodi, ritme, laras, tempo, dinamika, dan ornamen vokal—mewujudkan dan memperkuat duka ekologis dan perpindahan spiritual. Analisis ini mengacu pada teori fungsi musik Merriam, ekokritik sastra, teori glokalisasi, dan prinsip kosmologi Sunda Tri  Tangtu di Buana , sebuah triad kosmologi Sunda yang melambangkan harmoni antara manusia, alam, dan Tuhan. Data dikumpulkan melalui wawancara mendalam, observasi lapangan, analisis audiovisual, dan studi musikologi dari berbagai adaptasi dari tahun 1989 hingga 2018. Temuan ini mengungkapkan bahwa Kuring Leungiteun bukan sekadar artefak budaya, melainkan narasi sonik yang digarap secara sadar: penggunaan laras madenda membangkitkan melankolis sakral, sementara tempo lambat, kendali dinamis, dan ornamen mikrotonal mengekspresikan trauma ekologis kolektif. Transformasi lagu ini lintas genre, mulai dari Celempungan hingga pop Sunda, menggambarkan kemampuan adaptasi glokal dan relevansi sosialnya yang abadi. Studi ini menegaskan bahwa musik tradisional dapat berfungsi sebagai platform penting bagi etika lingkungan, transmisi memori, dan keterlibatan publik sejalan dengan kerangka kerja global seperti SDG 13 dan 15. Studi ini merekomendasikan revitalisasi strategis bentuk-bentuk musik tradisional sebagai media partisipatif untuk keberlanjutan budaya dan kesadaran ekologis.
Co-Authors Arif Budiman Kuwat López-Lara, Ángela Nuuriyah Tarjono, Siti