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All Journal Ekspresi: Indonesian Art Journal Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) PROMUSIKA: Jurnal Pengkajian, Penyajian, dan Penciptaan Musik Harmonia: Journal of Research and Education MUDRA Jurnal Seni Budaya International Journal of Visual and Performing Arts Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik IDEA: Jurnal Seni Pertunjukan
Kustap Kustap
Prodi Musik ISI Yogyakarta, Jalan Parangtritis Km. 6,5 Sewon Yogyakarta. HP. 0852288856259,
Religion Arts Humanities Education Languange, Linguistic, Communication & Media Social Sciences Other

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Journal : Harmonia: Journal of Research and Education

 1 
Musik Klasik Mozart dan Beethoven suatu Refleksi Konsep Estetika Plato (The Clasical Music of Mozart and Bethoven a Reflection of Plato’s Aesthetic Concept ) -, Kustap
Harmonia: Journal of Arts Research and Education Vol 7, No 1 (2006)
Publisher : Department of Drama, Dance, and Musik (Sendratasik), Semarang State University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v7i1.747

Abstract

Karya Mozart dan Beethoven adalah dasar utama keindahan musik di jaman klasik.Konsep yang digunakan kedua komponis ini masih relevan digunakan dan dipelajarihingga era kekinian. Keseimbangan pikiran, persaan dan tenaga ditunjukan dalamkonsep karya Mozart dan Beethoven, yang merupakan refleksi dari pemikiranmimesis tentang seni oleh Plato.Kata Kunci: Musik Klasik, Keseimbangan, Mimesis.
Musik Klasik Mozart dan Beethoven suatu Refleksi Konsep Estetika Plato (The Clasical Music of Mozart and Bethoven a Reflection of Plato’s Aesthetic Concept ) -, Kustap
Harmonia: Journal of Arts Research and Education Vol 7, No 1 (2006)
Publisher : Department of Drama, Dance and Music, FBS, Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v7i1.747

Abstract

Karya Mozart dan Beethoven adalah dasar utama keindahan musik di jaman klasik.Konsep yang digunakan kedua komponis ini masih relevan digunakan dan dipelajarihingga era kekinian. Keseimbangan pikiran, persaan dan tenaga ditunjukan dalamkonsep karya Mozart dan Beethoven, yang merupakan refleksi dari pemikiranmimesis tentang seni oleh Plato.Kata Kunci: Musik Klasik, Keseimbangan, Mimesis.
Ryuji Kunimatsu Guitar Arrangement on the Oblivion by Astor Piazzolla: A Critical Analysis Indrawan, Andre; Albarsani, Noer Iskandar; Kustap, Kustap; Suryati, Suryati
Harmonia: Journal of Arts Research and Education Vol 21, No 2 (2021): December 2021
Publisher : Department of Drama, Dance and Music, FBS, Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v21i2.31750

Abstract

This study examined the characteristics of Kunimatsu’s guitar arrangements in Astor Piazzolla’s Oblivion by comparing aspects of musical form, melody, and harmony. As with other arrangements’ performances, the primary motif of Astor Piazzola’sOblivion melodic theme in Kunimatsu guitar arrangement has always been played differently from the original version. This performance phenomenon could responsibly risk blurring the identification of structural boundaries within its musical form. The purpose of this study is to prove the basic construction of Oblivion melody, including its form structure and rhythmic characteristics, by comparing Kunimatsu’s arrangements against the composer’s original score. This study uses musicological research methods. The approaches applied in studying this work are analytical, theoretical, and comparative.  This study compares the two data to reveal the musical forms and the differences in the primary motive rhythmic characteristics. The results of this study are findings of the Oblivion musical forms in both publications and the differences in primary motives rhythmic patterns in both sources. The difference in musical form is impressive, possibly caused by the insertion of auxiliary members. As a result, Kunamitsu arrangement includes using the two-part song form, originally a three-part song form. With the revelation of the original melodic structure that is clear from the results of this study, the musicians who will present the Oblivion will at least have the essential reference in their interpretation. This research contributes to expanding studies in classical guitar performance and musical forms and new approaches in textual musicological analysis that are still infrequent.
Co-Authors Akbar Bagaskara Albarsani, Noer Iskandar Alief Aditya Subekti Andre Indrawan Bagaskara, Akbar Danajaya, I Made Indra de Fretes, Daniel Eritha Rohana Sitorus Haryanto Haryanto Haura, Afifah Shafa Hutabarat, Mira Christina Lubis, Ikhsan Made Janhar Winatha Gautama Nehemia Borneo Harnowo Nurhaliza Nurhaliza Pasaribu, Rianti Magdalena Salma G Kharoris Satria, Eki Sitorus, Eritha Rohana Suryati Suryati Umilia Rokhani