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All Journal Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) PROMUSIKA: Jurnal Pengkajian, Penyajian, dan Penciptaan Musik CaLLs : Journal of Culture, Arts, Literature, and Linguistics Jurnal Invensi (Jurnal Penciptaan dan Pengkajian Seni) Sorai: Jurnal Pengkajian dan Penciptaan Musik Jurnal Kajian Seni IDEA: Jurnal Seni Pertunjukan

Royke B. Koapaha

Institut Seni Indonesia Yogyakarta

Author-ID : 238200

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

Published : 12 Documents Claim Missing Document

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Musikalisasi Puisi “Hatiku Selembar Daun” Royke B. Koapaha; Umilia Rokhani; Nurul Farida
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 10, No 2 (2009): Desember 2009
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v10i2.476

The musical poem of “Hatiku Selembar Daun”. Music and poetry have a signifi cant relationship; they bothhave an element of sound. This study discusses the relation of the transformation of poetry to musical poem in“Hatiku Selembar Daun” by Djoko Damono Sapardi. The study was conducted by means of the form of music andharmony through musicological studies, as well as the relationship between music and poetry in a musical poemitself. Based on the analysis we concluded that the dominant harmonious relationship between music and the meaningof the poem “Hatiku Selembar Daun” deals with the creative elements in it.

KETERAMPILAN ANSAMBEL DALAM MUSIK KAMAR (STUDI KASUS MARSKANSKEY STRING QUARTET) Arum Kusuma Dewi; Royke Bobby Koapaha; Gabriel Roosmargo Lono Lastoro Simatupang
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol 14, No 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v14i1.3709

String Quartet is the most popular form of Chamber Music. In a string quartet there are no conductors as leaders, directors and music coordinators, no wonder many quartets end up disbanding due to problems. Marskanskey String Quartet is a group from Jogja that has been around for a long time and has more achievements, although based on initial observations this group looks the same as other groups. This research was appointed to find out what aspects of ensemble skills, how to apply ensemble skills in the Marskanskey group. To explore how the application of ensemble skills in the Marskanskey group, the author discusses the case with Keller's theory of ensemble skills. The author's theory considers that he is able to describe the discourse thoroughly, comprehensively and deeply, namely skills from the rehearsal process to performances. This research is a qualitative research with a case study approach. The results showed that Marskanskey had applied ensemble skills both in rehearsal and concert. With strategies in practice, including self-preparation until perfomances can influencing and supporting the success of a group to achieve maximum sound production. Interestingly, the researchers found a shift in function in the use of cues, as well as limitations in Keller's theory, namely the online cog-motor ensemble skill that occurs automatically.

The Formation of Vocal Material and Sound Production of Immanuel Choir Epifani Omega Tutupoly; G.R. Lono Lastoro Simatupang; Royke B. Koapaha
Jurnal Kajian Seni Vol 6, No 1 (2019): Jurnal Kajian Seni Vol 6 No 1 November 2019
Publisher : Universitas Gadjah Mada

Immanuel Choir(IC) merupakan salah satu Paduan Suara Mahasiswa (PSM) Universitas Kristen Immanuel (UKRIM) di kota Yogyakarta yang terbilang baru berdiri. Sebagian besar anggota IC adalah mahasiswa yang tidak memahami teknik bernyanyi yang pakem yaitu teknik vokal klasik sehingga dalam latihan IC dilakukan metode yang sedikit berbeda dengan metode vokal klasik yang pakem dalam pelaksanaannya. Meski demikian IC memiliki prestasi yang tidak kalah dengan PSM lainnya terutama dalam membawakan lagu folklor. Secara spesi k terdapat hal yang unik dari penyajian IC dalam lagu folklor, salah satunya adalah karakter suara. Hal ini membuat IC memiliki karakteristik yang berbeda dan menarik perhatian penonton dalam setiap penyajiannya. Tulisan ini bertujuan untuk mengetahui hal-hal terkait dengan produksi suara dalam penyajian lagu folklor oleh Immanuel Choir. Pendekatan yang digunakan pada artikel ini adalah musikologi. Hasil memperlihatkan bahwa IC tetap mempertahankan karakter suara yang cempreng meskipun kurang sesuai dengan teori vokal klasik tetapi IC menonjolkan aspek artistik yang mencakup ekspresi, dinamika, interpretasi dan aksi panggung.

Pengalaman Musikal dalam Teori Kecerdasan Majemuk Howard Gardner Untsa Akramal Atqa; G.R. Lono Lastoro Simatupang; Royke B. Koapaha
Jurnal Kajian Seni Vol 5, No 1 (2018): Jurnal Kajian Seni Vol 5 No 1 November 2018
Publisher : Universitas Gadjah Mada

The interest in music studies from various disciplines has increased in recent years. This is because the results of studies that show musical abilities are related to non-musical abilities. One example is research on music and intelligence. Music with intellectual intelligence and emotional intelligence has been proven to have strong relationships. Therefore, this paper was made as one of the studies on the relationship of music with intelligence, especially multiple intelligences that have not been widely studied before. The research method used is the study of literature. This literature study aims to build and construct conceptions more strongly based on empirical studies that have been done before.

Musik Indisch dalam Perspektif Poskolonial: Studi Kasus Karya Ki Hadjar Dewantara dan Constant van de Wall Margi Ariyanti; Vissia Ita Yulianto; Royke B. Koapaha
Jurnal Kajian Seni Vol 7, No 1 (2020): Jurnal Kajian Seni Vol 7 No 1 November 2020
Publisher : Universitas Gadjah Mada

Indisch music is a music that uses a combination of “Eastern” music idioms and “Western” music idioms in composition and popular in Dutch-East Indies era. This article analyses the composition of Indisch music composed by Ki Hadjar Dewantara, a well-known educational figure and composer in Indonesia and Constant van de Wall, a Javanese-Dutch composer in a postcolonial perspective. Using a qualitative method and with a music theory framework and a postcolonial theory framework, this article answers two research questions: the first is how Ki Hadjar Dewantara and Constant van de Wall in making their Indisch music works viewed in terms of their composition and the second is how the contestation of the struggle the power that is built into their piano composition in a postcolonial perspective. The composition of the two composers shows that Dutch colonialism in the Dutch East Indies has produced a mixed culture called Indisch culture which has become an arena of contestation and power struggle for the colonizers and colonized. Starting from this point, the authors hope that this article contributes to the world of piano education in Indonesia. Music teacher and student of music need to understand of postcolonial theory in addition to music theory and music history.Musik Indisch adalah jenis musik yang menggunakan perpaduan idiom musik “Timur” dan idiom musik “Barat” di dalam komposisinya dan populer di zaman Hindia-Belanda. Artikel ini menganalisis komposisi musik Indisch yang digubah oleh Ki Hadjar Dewantara, seorang tokoh pendidikan dan komponis terkenal di Indonesia dan Constant van de Wall, seorang komponis Jawa-Belanda. Dengan menggunakan metode kualitatif dan dengan kerangka teori musik dan kerangka teori poskolonial, artikel ini menjawab dua pertanyaan riset: yang pertama adalah bagaimana Ki Hadjar Dewantara dan Constant van de Wall dalam membuat karya musik Indischnya ditinjau dari bentuk komposisi mereka dan yang kedua adalah bagaimana kontestasi perebutan kuasa yang terbangun dalam komposisi piano mereka dalam perspektif poskolonial. Komposisi kedua komponis tersebut menunjukkan bahwa kolonialisme Belanda di Hindia-Belanda telah menghasilkan kebudayaan campuran yang bernama kebudayaan Indisch yang telah menjadi arena kontestasi dan pertarungan kuasa bagi si penjajah dan yang terjajah. Berangkat dari titik tersebut, penulis berharap artikel ini dapat berkontribusi dalam dunia pendidikan piano di Indonesia. Pemahaman teori poskolonial di samping teori musik dan sejarah musik penting dimiliki oleh guru dan siswa piano Indonesia.

Penerapan Gaya Musik Minimal dan Tema Variasi Dalam Konsep Evolusi Manusia Irfandi Jaya Negara; Kristiyanto Christinus; Royke Bobby Koapaha
IDEA: Jurnal Ilmiah Seni Pertunjukan Vol 17, No 1 (2023): Vol 17, No 1 (2023)
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar

ABSTRAKKarya musik “Komposisi Musik EVOLUSI untuk Format Ansambel” adalah karya hasil dari penelitian penulis yang berisi penggabungan antara musik minimal dan juga tema variasi yang dibalut dengan konsep evolusi manusia. Penelitian ini berfokus pad a penggabungan gaya musik minimal dan tema variasi. Tahapan yang dilakukan meliputi: observasi objek penelitian (musik minimal dan variasi), perancangan konsep penciptaan karya, dan penulisan notasi melalui aplikasi musescore 3. Hasil penelitian menunjukkan bahwa cara penggabungan musik minimalis dan variasi dapat dilakukan dengan mengambil karakter terkuat dari kedua musik tersebut. Karakter yang diambil dari tema variasi diaplikasikan dengan cara lagu ini memiliki bentuk yang pasti dan juga memiliki suatu tema utama. Pada musik minimal, penulis menggunakan ostinato yang terus menerus bermain sepanjang lagu. Ostinato tersebut ditempatkan di awal dan akhir setiap variasi yang bisa disebut intro dan outro yang dimana mereka menjadi satu kesatuan dengan variasi mereka masing-masing dan berperan sebagai jembatan antar variasi. Kata kunci Minimal, Tema variasi, Penggabungan, OstinatoApplication of Minimal Music Styles and Theme Variations In The Concept Of Human EvolutionABSTRACTThe musical work "EVOLUTION Music Composition for Ensemble Format" is a work the result of the author's research which contains a combination of minimal music and also the theme of variation wrapped in the concept of human evolution. This research focuses on incorporating minimal musical styles and variations on the theme. The stages carried out include: observing the research object (minimal music and variations), designing the concept of the music, and writing notations through the musescore 3 application. The results show that the way to combine minimalist music and variations can be done by taking the strongest character of the two musics. The character taken from the variation theme is applied in a way that this song has a definite shape and also has a main theme. In minimal music, the writer uses an ostinato that plays continuously throughout the song. The ostinato is placed at the beginning and end of each variation which can be called intro and outro where they become one unit with their respective variations and act as a bridge between variations.Keywords Minimalism, Theme and variation, Combination, Ostinato

Komodifikasi Musik Bertema Cinta: Pertunjukan Yovie Widianto “Billion Songs Concert and Festival” Zahra, Assalova Schissandra; Koapaha, Royke Bobby
PROMUSIKA Vol 12, No 1 (2024): April 2024
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/promusika.v12i1.12490

Penelitian ini bertujuan untuk melakukan kajian terhadap komodifikasi Yovie Widianto pada pertunjukan Billion Songs Concert and Festival dalam konteks komodifikasi musik bertema cinta pada Industri Kebudayaan Massa oleh Theodor W. Adorno. Masalah penelitian yang diangkat adalah bagaimana strategi Yovie Widianto mengkomodifikasi karyanya dalam bentuk pertunjukan ini. Penelitian ini menggunakan metode kualitatif dengan pendekatan observasi, wawancara, dan analisis dokumen. Data dikumpulkan melalui observasi langsung pada lokasi pertunjukan, wawancara dengan Yovie Widianto, serta analisis berbagai dokumen terkait seperti materi promosi, artikel berita, dan data streaming. Pertunjukan ini sebagai contoh studi kasus karena menggambarkan fenomena komersialisasi musik bertema cinta dalam industri musik masa kini. Aspek komersialisasi ini dapat terlihat dari seleksi lagu-lagu populer, kolaborasi dengan berbagai musisi populer, yang meningkatkan antusiasme dan daya tarik masyarakat serta menunjang penjualan tiket yang tinggi. Penelitian ini akan melihat bagaimana lagu-lagu bertema cinta dijadikan komoditas, dengan fokus pada model karya yang disajikan, strategi komodifikasi, dan pengaruh komersialisasi terhadap nilai artistik. Hasil penelitian menunjukkan bahwa proses komodifikasi musik bertema cinta melibatkan pemilihan lagu hits, kolaborasi musisi, dan strategi promosi yang menyatukan antusiasme dan daya tarik masyarakat terhadap pertunjukan. Implikasi dari temuan ini adalah bahwa strategi komodifikasi yang digunakan berhasil meningkatkan popularitas dan eksposur Yovie Widianto, serta mengukuhkan posisi musik bertema cinta sebagai komoditas yang bernilai dalam industri musik masa kini.The Commodification of Love-Themed Music: Yovie Widianto's Performance “Billion Songs Concert and Festival”AbstractThis research aims to study the commodification of Yovie Widianto in the Billion Songs Concert and Festival performance within the context of the commodification of love-themed music in the Mass Culture Industry by Theodor W. Adorno. The research problem addressed is how Yovie Widianto's strategies in commodifying his works through this performance. This study employs a qualitative method with approaches including observation, interviews, and document analysis. Data were collected through direct observation at the performance venue, interviews with Yovie Widianto, and analysis of various related documents such as promotional materials, news articles, and streaming data. The performance serves as a case study example because it illustrates the phenomenon of commercialization of love-themed music in the current music industry. This commercialization aspect is evident from the selection of popular songs, and collaborations with various popular musicians, which enhance public enthusiasm and appeal, and support high ticket sales. This research examines how love-themed songs are commodified, focusing on the model of works presented, commodification strategies, and the impact of commercialization on artistic value. The results of the study show that the commodification process of love-themed music involves the selection of hit songs, musician collaborations, and promotional strategies that unite public enthusiasm and appeal for the performance. These findings imply that the commodification strategies used have successfully increased Yovie Widianto's popularity and exposure, and have cemented the position of love-themed music as a valuable commodity in today's music industry.Keywords: The commodification of music; Yovie Widianto; Billion Songs Concert and Festival; Mass Cultural Industry

Pengaruh Posmodernisme terhadap Karya Gitar: Studi Kasus Karya Roland Dyens, Andrew York, dan Leo Brower Koapaha, Royke Bobby
Resital: Jurnal Seni Pertunjukan Vol 19, No 2 (2018): Agustus 2018
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v19i2.3518

Postmodernisme dapat dikatakan sebagai penolakan atau kritik terhadap modernisme Barat yang berorientasi pada kemajuan. Ciri posmodernisme seperti alam tanpa titik pusat atau hilangnya fokus yang mengontrol akan segala sesuatu, tidak ada standar yang berlaku umum atau universal untuk mengukur, menilai dan mengevaluasi suatu konsep atau gaya hidup tertentu. Repertoar musik gitar tidak dapat dipisahkan dari pengaruh posmodernisme. Hingga saat ini relatif belum ada penelitian seputar pengaruh posmodernisme pada repertoar musik gitar. Penelitian ini bertujuan akan mengkaji pengaruh posmodernisme terhadap karya-karya musik untuk Gitar dari Roland Dyens, Andrew York dan Leo Brouwer. Data-data penelitian ini didapat dari studi literatur mengenai wacana posmodernisme secara umum, wacana posmodernisme dalam musik, serta menganalisis pemikiran-pemikiran posmodernisme pada karya musik untuk Gitar. Dari hasil penelitian disimpulkan bahwa karya-karya musik untuk Gitar yang diciptakan oleh Roland Dynes, Andrew York, dan Leo Brouwer mendapat pengaruh posmodernisme dari musik jazz, rock, musik rakyat dan musik klasik. Ketiga komposer ini menggunakan idiom-idiom musik yang tidak hanya terbatas pada musik klasik, namun menggunakan idiom-idiom dari berbagai macam musik, termasuk musik populer.Postmodernism can be agreed as a rejection or criticism of western modernism which oriented on a progression. Its characteristic like a world without center point or without focus that can control everything, there is no certain standard to measure, assess, and evaluate a particular concept or lifestyle. The guitar music repertoire cannot be separated from the influence of postmodernism. Until now there has been relatively no research on the influence of postmodernism on the guitar music repertoire. This research aims describing the effect of postmodernism towards guitar’s music composed by Roland Dynes, Andrew York, and Leo Brouwer. The data gathered from literature study on postmodernism discourse, postmodernism in music, and also the analysis of postmodernism thoughts on guitar’s music. The result shown that the effect of postmodernism lies on musical works from Roland Dynes, Andrew York, and Leo Brouwer. Those composers using not only western classical music idioms, but also jazz, rock, folk music, including popular music. Keywords: Postmosernism; guitar; Roland Dynes; Andrew York; Leo Brouwer

POLITIK IDENTITAS DALAM PERSPEKTIF POSKOLONIAL STUDI KASUS HIP HOP DANGDUT GRUP NDX A.K.A Sidjabat, Yedija Remalya; Yulianto, Vissia Ita; Koapaha, Royke Bobby
CaLLs (Journal of Culture, Arts, Literature, and Linguistics) Vol 4, No 2 (2018): December 2018
Publisher : Fakultas Ilmu Budaya, Universitas Mulawarman

Hip hop dangdut is music identity of NDX A.K.A group. Hip hop dangdut that became popular in society also bring the pros and cons for some groups. Political identity in this research investigates background in choosing music dangdut and hip hop that integrated in NDX’s songs. Political identity used to see the factor that played a role in formation of hip hop dangdut, but not fully realized by NDX group. Political identity in formation of hip hop dangdut then analyzed in textual and contextual to answer the contestation of hip hop dangdut in postcolonial perspective. The concept postcolonial in this research is criticized dominance or the form of leadership culture (hegemony) conducted by capitalists. Hip hop dangdut formed because of the hegemony of media in popularizing hip hop that occurs massively. Contestation on hip hop dangdut identity is analyzed using the concept of mimicry and hybridity to see ‘in-between’ space or third space that can be described the position of hip hop dangdut. Negotiations between hip hop and dangdut is a form of hybridity that takes place in ambivalence, which is mimicking and mocking, and not entirely subordinated to the cultural discrimination that occurs to the strategy of globalization. The performance and NDX music that performed on stage shows the cultural identity negotiations between hip hop and dangdut that formed in the third space.

PEMBELAJARAN KOMPOSISI UNTUK BIDANG KONSENTRASI POP-JAZZ DALAM KURIKULUM SARJANA MUSIK B. Koapaha, Royke
PROMUSIKA Vol 1, No 1 (2013): April 2013
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/pro.v0i0.537

This article is worked to support the undergraduate study program revitalization of Music Department, The Facuty of Performing Arts, ISI Yogyakarta, especially in developing creative industry weight through composition training into the Pop-Jazz subjects package, wich is one among the five elective sub competency packages provide by the curriculum. Basically, the author offers composition subject material that is estimated beneficial in developing creative industry in Pop-Jazz program of the Department Keywords: Creative industry, composition, pop-jazz

Co-Authors Arum Kusuma Dewi Epifani Omega Tutupoly G.R. Lono Lastoro Simatupang G.R. Lono Lastoro Simatupang G.R. Lono Lastoro Simatupang Irfandi Jaya Negara Kardi Laksono Kristiyanto Christinus Margi Ariyanti Nurul Farida Nusa, Mada Panglima Samsul Maarif Sidjabat, Yedija Remalya Umilia Rokhani Untsa Akramal Atqa Vania, Sabina Stella Vissia Ita Yulianto Yulianto, Vissia Ita Zahra, Assalova Schissandra

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