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The Value of Thematic Song Lyrics Character Education in 2013 Curriculum Books as a Praxis-Implementative Reference to Art Creation (Music) Fitriani, Yulianti; Listiyani, Novi; Hadianda, Dedy Satya; Sentosa, Gempur
International Conference on Elementary Education Vol. 2 No. 1 (2020): Proceedings The 2nd International Conference on Elementary Education
Publisher : Elementary Education Study Program School of Postgraduate Studies Universitas Pendidikan Indonesia in collaboration with UPI PRESS

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This research was conducted because of the urgency of the need for a practical and practical reference to music creation that can be used by art creation students in carrying out the process of character development through thematic song lyrics contained in the 2013 curriculum book. On that basis, a strong foundation is needed to find values the value of character education in the lyrics of the songs is based on 18 character education values formulated by the Ministry of National Education (2010) consisting of; religious, honest, tolerance, discipline, hard work, creative, independent, democratic, curiosity, national spirit, love for the motherland, respect for achievement, friendship, love for peace, love to read, care for the environment, care social and responsibility. The focus of research is focused on determining the character values that are reflected in the lyrics of thematic songs and obtaining a list of thematic songs along with the content of character education values that can be used as a reference in making music. The research method used is content analysis with a descriptive analytic approach. The results obtained in the form of an explanation of data analysis about the values of character education that appears from each song lyrics. So that it can be recommended to students of art creation to be able to consider the use of the value of character education found in the process of creating as a practical and practical reference

NGILO DAN MEULI SEBAGAI IMPROVISASI IDIOMATIK Gempur Sentosa
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol 15, No 1 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v15i1.4460

AbstractThe quest for musical ideas from a local concept found unique and arresting research objects, namely ngilo and meuli on wawacan singing. Ngilo and meuli are a natural phenomenon in the form of reading and singing wawacan text with spontaneity. The article it's written to solve the problem of how the concept of ngilo and meuli similarities with improvised discourses. The discussion in this article begins with the conception of ngilo and meuli in wawacan singing, with a review of improvisation discourse. This article ends with a discussion of the concepts of ngilo and meuli as improvisation. This article is fieldwork through a qualitative way to apply interview and observation methods to research purposes, capable of transcription, cultivating, and arranging the data into an obvious, focused, and coherent data report. The research takes data from interviews, books, articles, and videos of events, including talk shows. In the study, the author find the concept of ngilo and meuli as an uncertain and naturalist form of musical performance. In addition, the conception of ngilo and meuli has technical similarities with idiomatic improvisation that is structured and holds their cultural idioms.AbstrakPenelusuran ide musikal dari konsep lokal menemukan objek penelitian yang unik dan menarik, yakni ngilo dan meuli pada nyanyian wawacan. Ngilo dan meuli merupakan sebuah fenomena natural berupa aktivitas membaca dan menyanyikan teks wawacan secara spontanitas. Artikel ini ditulis untuk menjelaskan kesamaan konsep ngilo dan meuli dengan diskursus improvisasi. Pembahasan pada artikel ini diawali dengan membahas konsep ngilo dan meuli pada nyanyian wawacan, dilanjutkan dengan pembahasan wacana improvisasi. Artikel ini diakhiri dengan pembahasan mengenai konsep ngilo dan meuli sebagai improvisasi. Artikel ini ditulis berdasarkan fieldwork yang menggunakan pendekatan kualitatif untuk mengaplikasikan metode wawancara dan pengamatan sebagai keperluan penelitian, mampu mentranskripsikan, mengolah, dan menyusun data menjadi sebuah laporan data yang jelas, fokus, sistematis dan koheren. Penelitian ini mengambil data dari wawancara, buku, artikel, video pertunjukan, dan talk show. Pada penelitian ini, penulis menemukan konsep ngilo dan meuli sebagai peristiwa tidak pasti dan naturalis bentuk pertunjukan musiknya. Selain itu, konsepsi ngilo dan meuli memiliki kesamaan secara teknis dengan improvisasi idiomatik yang terstruktur dan memegang idiom budayanya.

ANALISIS GAYA MUSIKAL PADA GENDING LAGU "JALI-JALI" KARYA KOKO KOSWARA Yantiningtyas, Vita Rindri; Sentosa, Gempur
Paraguna Vol 10, No 2 (2023): KEDALAMAN TEKS DAN KONTEKS
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/paraguna.v10i2.2950

"Jali-Jali" is a musical composition in the form of sekar gending (song with musical accompaniment) composed by Koko Koswara in 1970 using gamelan salendro. The main musical pattern used the Sundanese musical pattern and the gambang Kromong musical pattern. The unique musical characteristics of the combination of two different musical backgrounds are the main attraction for researchers to study 2 (two) aspects, namely musical form and style. The theory used in this research is the science of musical form by Karl-Edmund Prier SJ and the style theory from Bruno Nettl. The science of musical form is used to analyze melodic aspects (motives, sequences, phrases, and periods), and Bruno Nettl's theory of style is used to analyze Koko Koswara's musical style. The results of this research illustrate that Koko adapted several characteristics of the original "Jali-Jali" song from Betawi was combined with Sundanese music into the "Jali-Jali" song as a result of his arrangement so that the unique composition that Koko created was very different from Koko's musical works another.

TEPAK CIWARINGINAN PADA SENI PENCAK SILAT DI KOTA BANDUNG Oktriyadi, Riky; Sentosa, Gempur
Paraguna Vol 10, No 2 (2023): KEDALAMAN TEKS DAN KONTEKS
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/paraguna.v10i2.2948

Pencak silat is a martial art of Indonesia's cultural identity that has been designated by UNESCO as an Intangible Cultural Heritage. Pencak silat in West Java is not only categorized as a martial sport, but also as one of the arts. Pencak silat in the context of performing arts is often called Kendang Penca (from the perspective of musical aesthetics) and Ibing Penca (from the perspective of dance aesthetics). The focus of this article is to describe the variety of tepak ciwaringinan patterns in the pencak silat family in Bandung. The consideration is that these songs and tepak no longer appear in every kendang penca performance, it can be said that their existence is starting to become extinct. In this article, the author uses a qualitative approach from Jhon W. Creswell by collecting data through observation, documentation, and interviews. After the data is obtained, the author then analyzes the data to test the truth of the data. This article discusses an overview of pencak silat as a performing art, the musical accompaniment of pencak silat in Bandung, and a description of the Ciwaringinan tepak pattern in pencak silat. The article concludes that pencak silat is one of the most important aspects of the performing arts in Indonesia, especially in West Java. Aesthetically, pencak silat generally consists of the aesthetics of the Pencak Silat dance form (ibing penca), music aesthetics (karawitan), and traditional fashion aesthetics. In addition, the findings in this study are that there are a variety of Ciwaringinan tepak patterns that have not been recognized by the public.

TEPAK CIWARINGINAN PADA SENI PENCAK SILAT DI KOTA BANDUNG Oktriyadi, Riky; Sentosa, Gempur
Paraguna Vol 10 No 2 (2023): KEDALAMAN TEKS DAN KONTEKS
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/paraguna.v10i2.2948

Pencak silat is a martial art of Indonesia's cultural identity that has been designated by UNESCO as an Intangible Cultural Heritage. Pencak silat in West Java is not only categorized as a martial sport, but also as one of the arts. Pencak silat in the context of performing arts is often called Kendang Penca (from the perspective of musical aesthetics) and Ibing Penca (from the perspective of dance aesthetics). The focus of this article is to describe the variety of tepak ciwaringinan patterns in the pencak silat family in Bandung. The consideration is that these songs and tepak no longer appear in every kendang penca performance, it can be said that their existence is starting to become extinct. In this article, the author uses a qualitative approach from Jhon W. Creswell by collecting data through observation, documentation, and interviews. After the data is obtained, the author then analyzes the data to test the truth of the data. This article discusses an overview of pencak silat as a performing art, the musical accompaniment of pencak silat in Bandung, and a description of the Ciwaringinan tepak pattern in pencak silat. The article concludes that pencak silat is one of the most important aspects of the performing arts in Indonesia, especially in West Java. Aesthetically, pencak silat generally consists of the aesthetics of the Pencak Silat dance form (ibing penca), music aesthetics (karawitan), and traditional fashion aesthetics. In addition, the findings in this study are that there are a variety of Ciwaringinan tepak patterns that have not been recognized by the public.

ANALISIS GAYA MUSIKAL PADA GENDING LAGU "JALI-JALI" KARYA KOKO KOSWARA Yantiningtyas, Vita Rindri; Sentosa, Gempur
Paraguna Vol 10 No 2 (2023): KEDALAMAN TEKS DAN KONTEKS
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/paraguna.v10i2.2950

"Jali-Jali" is a musical composition in the form of sekar gending (song with musical accompaniment) composed by Koko Koswara in 1970 using gamelan salendro. The main musical pattern used the Sundanese musical pattern and the gambang Kromong musical pattern. The unique musical characteristics of the combination of two different musical backgrounds are the main attraction for researchers to study 2 (two) aspects, namely musical form and style. The theory used in this research is the science of musical form by Karl-Edmund Prier SJ and the style theory from Bruno Nettl. The science of musical form is used to analyze melodic aspects (motives, sequences, phrases, and periods), and Bruno Nettl's theory of style is used to analyze Koko Koswara's musical style. The results of this research illustrate that Koko adapted several characteristics of the original "Jali-Jali" song from Betawi was combined with Sundanese music into the "Jali-Jali" song as a result of his arrangement so that the unique composition that Koko created was very different from Koko's musical works another.

Relasi Ibing dan Tepak Kendang: Studi Kasus Pada Perbedaan Musikal Tiga Paguron Pencak Silat Panglipur, Gajah Putih, dan Budhi Kancana oktriyadi, riky; sentosa, gempur
Paraguna Vol 11 No 1 (2024): INTERKULTURAL - INTERTEKSTUAL
Publisher : LP2M ISBI Bandung

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The research titled “Relation between Ibing and Tepak Kendang: A Case Study on the Musical Differences of Three Silat Pagurons; Panglipur, Gajah Putih, and Budhi Kancana” is an interactive study of tepak kendang playing patterns. (textual-contextual) study of tepak kendang playing patterns. The textual study focuses on the musicality of the tepak kendang. musicality, while contextual is focused on the relationship between tepak kendang and ibing penca in each paguron. The data used in this This research consists of qualitative and quantitative data. Qualitative data in the form of musical and ibing relationships based on the emic point of view of the performers in the 3 (three) paguron that became the art in 3 (three) paguron which became the subject of research. Meanwhile, the data quantitative data is in the form of notations of drumming in the structure of silat performances in three different pagurons. 3 (three) different paguron. From the quantitative data in the form of notation, then from the quantitative data in the form of notation, a comparison was made of the drumming patterns in Paguron Panglipur, Gajah Putih, and Budi Kancana. The urgency of this research to see the ibing relationship in each paguron with musical consequences built in order to fulfill the aesthetic needs of ibing penca which is directly related to the aesthetics of tepak kendang. with the aesthetics of tepak kendang. With this research, the correlative relationship between musicality and ibing can be mapped. musicality and ibing, so that it can be The importance of maintaining the values in ibing penca cannot be separated from the musicality in tepak kendang

Aktivasi Subang sebagai Habitat Ekosistem Angklung Ragam Laras: Studi Kasus pada Sanggar Toléater | Activation of Subang as an Ecosystem Habitat for Angklung Ragam Laras: A Case Study of Sanggar Toléater Irawan, Endah; Ridwan, Indra; sentosa, Gempur; Sudrajat, Mustika Iman Zakaria; Karwati, Uus; Sutanto, Toni Setiawan
GHURNITA: Jurnal Seni Karawitan Vol 4 No 4 (2024)
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v4i4.4522

After the establishment of Angklung as a world cultural heritage by UNESCO, there are consequences for Indonesia to protect, develop, utilize, and foster the life of Angklung. One of the efforts to face these consequences is to activate the angklung ecosystem in Subang Regency as a development effort so that angklung as a world heritage can maintain its existence. This research uses an experimental approach by providing training to Sanggar Toleater through a process of socialization, data collection, and work training in an art governance workshop, which ends with an evaluation; it is hoped that with this approach, this research and experimentation can protect the life of angklung that lives sustainably.

Aktivasi Subang sebagai Habitat Ekosistem Angklung Ragam Laras: Studi Kasus pada Sanggar Toléater | Activation of Subang as an Ecosystem Habitat for Angklung Ragam Laras: A Case Study of Sanggar Toléater Irawan, Endah; Ridwan, Indra; sentosa, Gempur; Sudrajat, Mustika Iman Zakaria; Karwati, Uus; Sutanto, Toni Setiawan
GHURNITA: Jurnal Seni Karawitan Vol 4 No 4 (2024)
Publisher : Pusat Penerbitan LPPMPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/jurnalsenikarawitan.v4i4.4522

After the establishment of Angklung as a world cultural heritage by UNESCO, there are consequences for Indonesia to protect, develop, utilize, and foster the life of Angklung. One of the efforts to face these consequences is to activate the angklung ecosystem in Subang Regency as a development effort so that angklung as a world heritage can maintain its existence. This research uses an experimental approach by providing training to Sanggar Toleater through a process of socialization, data collection, and work training in an art governance workshop, which ends with an evaluation; it is hoped that with this approach, this research and experimentation can protect the life of angklung that lives sustainably.

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