Article Per Year (5 Year)
p-Index From 2021 - 2026
0.562
P-Index
This Author published in this journals
All Journal Scoring: Journal of Film Music
Dary, Mohammad
Unknown Affiliation
Arts

Published : 3 Documents Claim Missing Document
Claim Missing Document
Check
Articles

Found 3 Documents
Search

 1 
Interpretation and Expression of Violin Soloist in Playing: Concerto In E Major, My Heart Will Go On, and Laila Canggung Nasrullah, M.; Sidik, Hadaci; Wijaksana, Bambang; Enida, Delfi; Dary, Mohammad
Scoring: Journal of Film Music Vol 3, No 1 (2025): Scoring Jurnal of Film Music
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/scoring.v3i1.5551

Abstract

Performances of musical repertoire from various eras, such as classical, modern, Malay, and popular, are wrapped into a solo violin performance in the form of interpretation and expression of works using musical performance techniques that contain conventional rules. This performance consists of several repertoires from different eras. The first repertoire is a repertoire that originates from the baroque era or the 16th century, entitled Concerto in E Major No. 1 Spring, with a combination of Antonio Vivaldi, which was created in 1725. The second repertoire is My Heart Will Go On, which is popular. The third repertoire is Laila Awkward, which Hamid and Amardi Raga created. Presenters interpret and express their repertoire by applying techniques such as arpeggios, trills, legato, and slurs to create a perfect performance.
A Re-Evaluation of J.C. Bach's Cello Concerto in C Minor (W. C11) in the Context of Galant Aesthetics for Soloist Practice Ikram, Muhammad; Sina, Ibnu; Dary, Mohammad; Anggraini, Nora
Scoring: Journal of Film Music Vol 3, No 2 (2025): Scoring
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/scoring.v3i2.6158

Abstract

Johann Christian Bach's (1735–1782) Cello Concerto in C Minor (W. C11) represents a unique intersection of eighteenth-century European musical traditions. This work, likely composed for the London concert market but infused with Mannheimian influences, serves as an ideal case study for investigating the transfer of style and solo performance practices in the Galant period. This article re-evaluates the concerto through a three-dimensional analysis: (1) a textual and comparative analysis of the primary manuscript source (British Library Add MS 31723) and a problematic modern edition; (2) a placement of the work within the biographical and social context of J.C. Bach's London career, as well as the resonance of the Mannheimian idiom in his orchestration; and (3) an investigation of the technical and interpretative implications for modern solo cellists seeking to reconstruct a historically appropriate approach. The findings reveal that this concerto is not simply a transitional work, but rather a mature expression of the Galant aesthetic, in which Mannheimian dramatic elements (Steigerung, Raketen) are harnessed to enhance the lyrical and dialogic expression of the solo cello. This study concludes that a stylistically authentic performance requires a rejection of the romanticization in Paul Müller's standard edition (1936) and the adoption of principles of articulation, ornamentation, and rhetoric drawn from contemporary sources, thus restoring the work's position as an important touchstone in the early Classical cello repertoire.
The Intersection of Speech Surrogacy, Speech Melody, and Tonal- Drumming in Minangkabau Pasambahan Ritual Speech Anton, Syahri -; Fulzi, Nadya -; Surayya, Yade -; Dary, Mohammad
Scoring: Journal of Film Music Vol 3, No 2 (2025): Scoring
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/scoring.v3i2.6030

Abstract

This study examines the complex integration of speech substitute systemsin the traditional pasambahan (ceremonial speech) of the Minangkabaupeople of West Sumatra, Indonesia. Pasambahan is a highly structuredritual speech genre used in traditional ceremonies, characterized by itsmetaphorical language, specific prosody, and melodic contour (spokenmelody). The study hypothesizes that pasambahan not only employsparalanguage but also operates as a nuanced speech substitute, where itsstructured melodic patterns (spoken melody) and its codifiedrepresentation in talempong pacik (handheld gong) (pitched percussion)performances from complementary communication systems. Throughethnographic fieldwork and multimodal analysis of audio-visualrecordings of wedding and inauguration ceremonies in Luhak Nan Tigo,This study elucidates how the prosodic and melodic features of spokenPasambahan are systematically mapped onto the pitched percussionpatterns of talempong. These findings suggest that this tripartiterelationship between ritual speech, its inherent melody, and itsinstrumental substitute serves to enhance social status, reinforcecosmological concepts, and delimit ceremonial knowledge, therebyperpetuating socio-cultural authority. This research contributes to abroader theoretical understanding of speech substitutes by depicting theirmanifestation not in a stand-alone drum language but as embedded withinthe complex performative speech genre itself.
Co-Authors Anton, Syahri - Bambang Wijaksana, Bambang Delfi Enida Fulzi, Nadya - Ibnu Sina Ikram, Muhammad M. Nasrullah Nora Anggraini Sidik, Hadaci Surayya, Yade -