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All Journal CaLLs : Journal of Culture, Arts, Literature, and Linguistics Ilmu Budaya: Jurnal Bahasa, Sastra, Seni, dan Budaya Jurnal Mebang Ruhui Rahayu: Jurnal Pengabdian Kepada Masyarakat

Pratama, Zamrud Whidas

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Author-ID : 1952108

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

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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.

Fungsi Daak Maraa’ dalam Upacara Hudo’ Kawit pada Masyarakat Suku Dayak Bahau di Kota Samarinda Fajriansyah, Achmad Ali; Vivian, Yofi Irvan; Pratama, Zamrud Whidas
Jurnal Mebang: Kajian Budaya Musik dan Pendidikan Musik Vol. 1 No. 1 (2021)
Publisher : Program Studi Etnomusikologi, Fakultas Ilmu Budaya, Universitas Mulawarman

Daak maraa’ was presented in the context of the traditional activities of the Dayak Bahau tribe community that carried the ritual. Problems related to social aspects when daak maraa’ 'is not implemented, so it raises the assumption of how important daak maraa’ is for the Dayak Bahau people. This study aims to: explain the musical structure of the Hudo’ Kawit ceremonies held by the Dayak Bahau people in Samarinda; describe the function of daak maraa’ presented at the Hudo’ Kawit ceremony for the Dayak Bahau community in Samarinda. This research uses a qualitative methodology by applying observation techniques, data collection, and data analysis. Observation techniques include the object of research that is the focus of research. Data collection techniques are based on literature study, informants, interviews, and documentation. Analysis techniques by reducing data and concluding. Research results in accordance with the background of the problem and objectives. The musical structure and function have a connection, that the application of rhythmic sound daak maraa’ is presented as a accompaniment to rituals and prayers. The application of daak maraa’ is actualized with a static rhythm, namely: (a) sukat 4/4; (b) tempo (andantino) 78-83; (c) motive (literal); (d) dynamics (forte); (e) timbre (teng, pliers, tung, and dung). The research findings contain a value that the function of daak maraa’ is present and applied as an anticipation goal on the basis of the potential for bad sound (yog) which can come to disrupt and cancel the traditional ceremonial activities. Yog is believed to exist by the Dayak Bahau tribe based on legend over folk prose stories that are thought to have taken place in the real world and are bad (magi).

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.

Co-Authors Agus Kastama Putra Ainurrofiq, Muhammad Nizamul Fawwaz Ananda, Ghea Rizky Anwar Ibrahim Triyoga Ariana, Risma Arozaq, Fikri Yassar Azizi, Ilham Ali Burhan, Denni Fahdilla, Nur Fajriansyah, Achmad Ali Fawwaz, Aji Nashafa Azka Aisha Hartono, Muhammad Ade Ryan Lina, Ester M., Fatimah Masrur Muhammad Alim Akbar Nasir Novita Pratiya, Ayu Wanda Purwanti Revaldy, Ahmad Sari, Putri Yunita Setya Ariani Setyoko, Aris Yofi Irvan Vivian, Yofi Irvan Zaky, Muhammad Faqih Zariyyumabtsutsah, Nur Rufiat Zenita, Rifkia

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