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All Journal CaLLs : Journal of Culture, Arts, Literature, and Linguistics Sorai: Jurnal Pengkajian dan Penciptaan Musik Jurnal Mebang Ruhui Rahayu: Jurnal Pengabdian Kepada Masyarakat

Setyoko, Aris

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Author-ID : 1663545

Arts Humanities Education Environmental Science Languange, Linguistic, Communication & Media Social Sciences Other

Published : 14 Documents Claim Missing Document

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Articles

Title

Musik Salating sebagai Wujud Kreativitas Kelompok Kuarsa Mahakam di Kota Samarinda Zenita, Rifkia; Pratama, Zamrud Whidas; Setyoko, Aris
Jurnal Mebang: Kajian Budaya Musik dan Pendidikan Musik Vol. 3 No. 2 (2023)
Publisher : Program Studi Etnomusikologi, Fakultas Ilmu Budaya, Universitas Mulawarman

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30872/mebang.v3i2.56

This study aims to describe the presentation form of Salating music and the creativity of the Kurasa Mahakam group. The method used is qualitative with a descriptive analysis approach. The method used is qualitative with a descriptive analysis approach. The research steps include determining the research location and data collection techniques (literature study, observation, interviews, documentation), and laboratory work. The results of this study show that the creativity of the Kurasa Mahakam group is built from the 4P aspects, which include person, process, press, and product. The person includes all members of the Kurasa Mahakam group. The process starts from (a) the emergence of anxiety from within each member of the Kurasa Mahakam group towards the sustainability of traditional music in Samarinda City, (b) seeking inspiration by conducting discussions, (c) getting ideas and solutions by establishing the Kurasa Mahakam group, to (d) producing a creative product. The pressures of the Kurasa Mahakam group come from within each member and the external environment. The creative product of the Kurasa Mahakam group is Salating music.

Tindakan Sosial Pelaku Kesenian Damarwulan di Desa Sebemban Novita, Winda; Vivian, Yofi Irvan; Setyoko, Aris
Jurnal Mebang: Kajian Budaya Musik dan Pendidikan Musik Vol. 4 No. 1 (2024)
Publisher : Program Studi Etnomusikologi, Fakultas Ilmu Budaya, Universitas Mulawarman

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30872/mebang.v4i1.90

Damarwulan art is a traditional art originating from Java and developed by the people of Sebemban Village, Kutai Kartanegara Regency. The lack of interest in Damarwulan by the people of Sebemban Village has resulted in social action by cultural actors to protect this art. The sustainability of Damarwulan art to date cannot be separated from the social actions of its artists. There is music and scripts that have not changed from the past until now. This research uses qualitative methodology by applying observation techniques, data collection and data analysis. The observation technique includes the research object, namely focusing on damarwulan art in Sembemban Village. Data collection techniques include literature study, determining informants, interviews, and documentation. The final step is to use analytical techniques to process field data. The results of this research will explain the facts found in the field by the author. The social actions of Damarwulan artists towards the sustainability of this art include traditional, instrumental rational and value rational actions. Traditional acts include aspects such as rituals, male performers, scripts, and musical forms that have been passed down through generations. Instrumental rational action includes the use of musical instruments and other equipment in performance. Meanwhile, value rational actions involve collaboration with village government, extracurricular activities at schools, and arts groups as an effort to ensure the sustainability of Damarwulan Arts.

Gagrak Blitaran: Proses Belajar Kebudayaan di Paguyuban Turonggo Budoyo Mugirejo Yulinanda, David Bagus; Vivian, Yofi Irvan; Setyoko, Aris
Jurnal Mebang: Kajian Budaya Musik dan Pendidikan Musik Vol. 1 No. 1 (2021)
Publisher : Program Studi Etnomusikologi, Fakultas Ilmu Budaya, Universitas Mulawarman

Turonggo Budoyo Mugirejo is a Kuda Lumping group Gagrak Blitaran in the city of Samarinda through the transmigration process. Gagrak Blitaran, on its own, was the identity of this group. The process of learning culture alone played a crucial role in preserving Kuda Lumping Gagrak Blitaran in Samarinda. This study aims to explain the characteristics of Gagrak Blitaran’s music; describe the process of self-study at the Turonggo Budoyo Mugirejo. The study employs qualitative methodologies by applying three phases, some of which define the location of research, data collection techniques, and analysis. Determination of the location aims to focus on the object of research. Data-collection techniques include library studies, informers, interviews, and documentation. The last one is the analysis technique by utilising field data. The study results in accord with the background of the problem and the purpose of the study. Gagrak Blitaran’s music characteristic have been achieved through the four rhythms of sampak, gangsaran, dua-satu (pegon and dangdutan), and satu-satu. The instruments on which these rhythms are based are the kenong, kempul, gong suwukan, and gong ageng. The process of learning its own culture includes internalisation, socialisation and enculturation. The three processes allow each member of the company to have a deeper understanding of Kuda Lumping. It involves a dance technique, beating the Gamelan according to the characteristic of Kuda Lumping Gagrak Blitaran.

Ornamentasi Vokal pada Tarsul Kutai Kartanegara Pratama, Zamrud Whidas; Setyoko, Aris; Arozaq, Fikri Yassar
Jurnal Mebang: Kajian Budaya Musik dan Pendidikan Musik Vol. 1 No. 1 (2021)
Publisher : Program Studi Etnomusikologi, Fakultas Ilmu Budaya, Universitas Mulawarman

One form of singing or chanting spread through cultural needs is a traditional song originating from Kutai Kartanegara called tarsul. This study aimed to obtain data about what vocal ornaments are contained in the Kutai tarsul. The theory used in this research is the theory of music presentation forms, ornamentation, and western music vocal techniques. A qualitative descriptive study was chosen by prioritizing the musicology approach. The data was collected by (1) literature study, (2) observation, (3) interviews, (4) documentation. The stages in analyzing data are (1) data reduction, (2) data presentation, (3) historiography writing, and (4) conclusions. Data clarification was again carried out using data triangulation techniques. The results showed two kinds of tarsul rhythms commonly used by petarsul, namely tarsul with one rhythm (low) and tarsul with a rhythm of two (high). In Kutai Kartanegara's tarsul, there are several ornaments. Many melismatic ornaments are found at the end of the melody of each part of the tarsul sentence. There are three forms of melismatic ornamentation named for easy classification: melismatic ornament A, melismatic ornament B, and melismatic ornament C. Apart from melismatic ornamentation, there is symbolic ornamentation on tarsul, namely trill ornamentation. Next is the morden ornamentation. More specifically, lower mordent ornamentation was found. Lastly is the use of grupetto ornamentation. From the transcription and tarsul analysis of rhythm patterns 1 and 2, it was found groupetto reverse turn ornamentation.

Dekonstruksi Makna Datun Kendau pada Masyarakat Kenyah di Desa Budaya Pampang Lenjau, Septiana; Putra, Bayu Arsiadhi; Setyoko, Aris
Jurnal Mebang: Kajian Budaya Musik dan Pendidikan Musik Vol. 1 No. 1 (2021)
Publisher : Program Studi Etnomusikologi, Fakultas Ilmu Budaya, Universitas Mulawarman

In the Kenyah community in the Pampang Cultural Village, Datun Kendau has undergone many changes, which are more likely to add Sampe and change the lyrics of the song to the Kenyah language commonly used in Pampang Village. This study aims to describe the form and meaning of Datun Kendau in the Kenyah community in Pampang Cultural Village. This research uses qualitative methods with observation techniques, data collection techniques and data analysis. The observation technique includes the object of study and the determination of informants. Data collection techniques include literature study, interviews, and documentation. Finally, data analysis techniques using field data. The results show that the Datun Kendau show's form has changed, which consists of a simple musical structure and consists of repeated melodic motifs. Datun Kendau has adapted to the activities of tourism events and young Kenyah artists' interests in Pampang Village. The creation of the reality of the meaning of Datun Kendau is interpreted as a way of adaptation, the formality of performances, and activities that are profitable and occur because of broken communication between the older generation and the younger generation

Reinterpretasi Sakralitas Sape’ Karaang pada Ritual Hudo’ Dayak Bahau di Kota Samarinda Syahputra, Yudi; Putra, Bayu Arsiadhi; Setyoko, Aris
Jurnal Mebang: Kajian Budaya Musik dan Pendidikan Musik Vol. 4 No. 2 (2024)
Publisher : Program Studi Etnomusikologi, Fakultas Ilmu Budaya, Universitas Mulawarman

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30872/mebang.v4i2.94

The Dayak Bahau community in Samarinda City has experienced changes in their cultural system, in this case their religious elements are no longer adherents of animist beliefs. However, they still believe in the legacy of their ancestors' animist beliefs, namely Sape' Karaang as a sacred musical instrument practiced in the Hudo' ritual. Thus, this research aims to analyze how the belief in the sacredness and practice of Sape' Karaang can survive amid changes in the religious system of the Dayak Bahau community in Samarinda City. This research uses qualitative methods with observation, data collection and data analysis techniques. Data collection techniques include literature study, interviews, and documentation. Data found in the field were collected and then analyzed. The results showed that the reason for the survival of the belief in the sacredness of Sape' Karaang in the Dayak Bahau community in Samarinda City is due to the reinterpretation by their traditional leaders of past animist sacred sources. Furthermore, the results of this interpretation form a new perception in the Dayak Bahau community of the sacredness of Sape' Karaang. For this reason, Sape' Karaang is still believed to be sacred and practiced by the Dayak Bahau community, which in turn has implications for their cultural identity in Samarinda City.

Musik Klentangan Kutai sebagai Media Sinkretisme dalam Upacara Bekenjong di Desa Bensamar Kabupaten Kutai Kartanegara Fajriannur, Arief; Gunawan, Asril; Setyoko, Aris
Jurnal Mebang: Kajian Budaya Musik dan Pendidikan Musik Vol. 4 No. 2 (2024)
Publisher : Program Studi Etnomusikologi, Fakultas Ilmu Budaya, Universitas Mulawarman

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30872/mebang.v4i2.95

Bekenjong is one of the ritual ceremonies that are owned by the people of Kutainese ethnic group in the regency of Kutai Kartanegara. Bekenjong ceremony is functions as a media of traditional medication to pay promises and to prevent disasters, usually accompanied by the Klentangan music ensemble, which is played with the musical instrument Klentangan, Babon Drum, and Gong. Bekenjong in its play cannot be implemented without Klentangan music. Music is an important aspect in Bekenjong, because Klentangan music is a media that connects between Pebelian with the realm of gods. This research uses descriptive qualitative method that covers data collection, observation, and data analysis technique. This research uses Weighted Scale technique by William P, and syncretism concept by Ralph Beals. The results of Bekenjong ceremony research shows that Klentangan music ensemble functioned as a media of syncretism. The process of Bekenjong ceremony then adjusted so that the traditions and customs of the ancestors were able to maintain without any conflicts with social norms or even current beliefs.

Co-Authors Anwar Ibrahim Triyoga Arozaq, Fikri Yassar Asril Gunawan, Asril Bayu Aji Nugroho, Bayu Aji Fajriannur, Arief Hanum, Irma Surayya Hilal, Hikmatul Fajar Syamsu Hilal, Hikmatul Fajar Syamsul Lenjau, Septiana M., Fatimah Muhammad Alim Akbar Nasir Musthofa, Dwi Nita Maya Valiantien Pratama, Zamrud Whidas Purwanti Rahayu Supanggah, Rahayu Rahayu, Famala Eka Sanhadi Rawanggalih, Kresna Syuhada Saferi Yohana Syahputra, Yudi Wahyuni, Ian Winda Novita Yofi Irvan Vivian, Yofi Irvan Yulinanda, David Bagus Zenita, Rifkia

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