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INKULTURASI DOLO-DOLO SEBAGAI KESENIAN SEKULER KE DALAM LITURGI GEREJA KATOLIK Maria Klara Amarilis Citra Sinta Dewi Tukan
Jurnal Budaya Nusantara Vol 5 No 1 (2021): NUSANTARA DAN RITUS
Publisher : Universitas PGRI Adi Buana Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36456/b.nusantara.vol5.no1.a4310

Inkulturasi merupakan suatu proses penyerapan dan penglibatan unsur-unsur positif dari budaya-budaya lokal ke dalam Gereja Katolik sebagai bentuk pewartaaan kepada Tuhan. Penelitian ini merupakan suatu penelitian kualitatif yang bertujuan untuk mendeskripsikan praktik inkulturasi Dolo-Dolo sebagai kesenian sekuler ke dalam liturgi Gereja Katolik. Fenomena kesenian Dolo-dolo yang merupakan suatu kesenian sekuler, digunakan sebagai musik sakral melalui praktik inkulturasi ternyata sangat didasari oleh latar belakang dan perspektif umat yang mempengaruhi praktiknya. Penelitian ini berusaha memahami secara konkret mengenai faktor-faktor yang melatarbelakangi dan mempengaruhi kesenian Dolo-dolo yang merupakan kesenian sekuler yang justru dapat digunakan sebagai musik ibadat religius dalam bentuk Misa Dolo-dolo dengan mengungkap faktor-faktor yang telah mempengaruhinya selain dikarenakan adanya sebuah inkulturasi dengan menggunakan teori arena kultural Bourdieu yang diposisikan sebagai teori utama untuk menjawab kedua rumusan masalah penelitian yang dibantu dengan teori melalui disiplin musikologi dengan melihat unsur-unsur musikal yang merupakan unsur identitas Dolo-dolo sebagai kesenian sekuler. Penelitian ini dilakukan dalam ranah sosial dengan menggunakan metode analisis data kualitatif dan teknik analisis data secara deskriptif dan interpretatif. Hasil yang diperoleh penelitian ini merupakan bentuk pemahaman terhadap objek melalui sebuah subjek dengan upaya melihat dan memahami faktor-faktor yang memiliki peran penting pada praktik inkulturasi dalam sebuah Gereja Katolik yang meliputi ruang sosial umat Gereja dengan memanfaatkan modal sebuah budaya.

Matematika dalam Seni: Barisan Fibonacci dan Golden Ratio Pada Lagu Hey Jude dari The Beatles Maria Klara Amarilis Citra Sinta Dewi Tukan; Wilfridus Beda Nuba Dosinaeng
Gondang: Jurnal Seni dan Budaya Vol 6, No 1 (2022): GONDANG: JURNAL SENI DAN BUDAYA, JUNI 2022
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gondang.v6i1.31981

Golden ratio atau rasio emas sering diidentikkan dengan dengan suatu keindahan di alam. Karya-karya musik yang indah dan terkenal sering dipercaya mengandung golden ratio di dalam komposisi musiknya. Penelitian ini bertujuan untuk menganalisis Barisan Fibonacci dan Golden Ratio pada lagu Hey Jude. Keindahan dari lagu yang dirilis pada tahun 1968 ini menjadikannya sangat populer di berbagai kalangan dari masa ke masa dan tetap dinyanyikan hingga sekarang. Penelitian diawali dengan melakukan studi literatur untuk memperdalam pemahaman konsep terkait materi penelitian. Selanjutnya, solmisasi lagu Hey Jude versi orisinal dilakukan dengan menggunakan aplikasi komputer. Analisis kemudian dilakukan pada interval nada-nada lagu Hey Jude untuk mengetahui persentase Nada Fibonacci dan ketepatan golden ratio pada lagu tersebut. Berdasarkan hasil penelitian disimpulkan bahwa lagu Hey Jude mengandung Barisan Fibonacci dan golden ratio di dalam susunan notasinya. Persentase total Nada Fibonacci dalam lagu Hey Jude yaitu sebesar dari total seluruh nada dengan bait kedelapan adalah bait yang paling banyak mengandung Nada Fibonacci yaitu sebesar 54.72%. Sedangkan dari sisi golden ratio, lagu Hey Jude memiliki ketepatan golden ratio yang tinggi yaitu sebesar 83.87%.

HOW TO PLAY AND TUNE SASANDO IN EDON STYLE MARIA KLARA AMARILIS CITRA SINTA DEWI TUKAN; FLORA CEUNFIN; MELKIOR KIAN
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 22, No 1 (2020): Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPMPP Institut Seni Indonesia Padangpanjang

Sasando is one of the cultural artifacts of the Rote Tribe that was born from ideas, good values, and local wisdom of the Rote people. This research is a qualitative case study type research aimed at gaining an understanding of sasando plays in Edon Studio and its tuning techniques. Edon Studio chose because the Edon technique has the characteristic of only using 7 fingers to play sasando and being able to tune sasando with two scales simultaneously. The results showed that at Edon Studio, sasando was played using 7 fingers consisting of 4 fingers of the left hand and 3 fingers of the right hand. On the left hand, the thumb and index finger enter in playing the melody, while the middle finger and ring finger meet in playing the bass. Besides playing the melody, the index finger is more positioned as the center of the movement of the other fingers. On the right hand, the thumb, index finger and middle finger are used to play rhythm. The middle finger meets as the commander, while the thumb and index finger meet to form the chord. For chords consisting of four notes, for example C7 chords, one note can be played from the melody (left hand). Regarding tuning, at Edon Studio, sasando tuning is done by considering modulation, namely sasando tuned using two scales. To set two or more basic sasando tunes, three important steps are used, namely: a) analyzing the composition of the melody on the song that will be played

ANALYSIS OF GO LABA MUSICAL ELEMENT OF NGADA TRADITIONAL MUSIC AS THE ACCOMPANIMENT OF JA’I DANCE IN MORA MASA STUDIO TUAK DAUN MERAH (TDM 02) SUB-SUB DISTRICT OEBOBO DISTRICT - KUPANG Flora Ceunfin; Melkior Kian; Maria Klara Amarilis Citra Sinta Dewi Tukan
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 21, No 1 (2019): Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPMPP Institut Seni Indonesia Padangpanjang

Go Laba is the traditional musical instrument of Ngada found in the studio of Mora Masa, Kupang city Nusa Tenggara Timur. Its playing pattern emphasizes more on the repetitions of rhythm. In this article, it's discussed (1) the presentation form of Go Laba as the accompaniment pattern of Ja'l dance in Mora Masa studio, Tuak Daun Merah village, Oebobo sub-district; (2) the musical element of Go Laba as the accompaniment pattern of Ja'l dance in Mora Masa studio, Tuak Daun Merah village, Oebobo sub-district. The traditional music of Go Laba consists of five gongs namely Go Wela, Go Ute, Go Dhere, Go Doa, Laba Wai and Laba Dhera. The presentation of Go Laba is the intertwined playing of rhythm that emphasizes more on the repetition of sound in order to create an aesthetic impression with 2/4 birama. Go Laba in its playing uses allegro tempo found in the rhythm of Go Wela. Based on research results, it can be concluded that Go Laba found in Mora Masa studio functions as the accompaniment of Ja'l dance used for the necessity in entertainment event and participating in the dance festival.

ANALYSIS OF THE MUSICAL FORM OF KEDU’E AS AN ACCOMPANIMENT OF EAST SABU ETHNIC PADOA DANCE AT IE LOWE WINI STUDIO, AIR NONA VILLAGE, KOTA RAJA DISTRICT, KUPANG. FLORA CEUNFIN; MARIA KLARA AMARILIS CITRA SINTA DEWI TUKAN
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 22, No 1 (2020): Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPMPP Institut Seni Indonesia Padangpanjang

Pedoa dance is one of the traditional dance of East Nusa Tenggara, precisely from the Eastern Sabu Region. Pedoa dance in its presentation uses song and Kedu’e as accompaniment. Kedue is a rhythmic musical instrument that is tied to the feet of Pedoa dancers. The problem is how the musical form of Kedu'e as an accompaniment to the East Sabu ethnic Pedoa dance at the Ie Lowe Wini studio, Air Nona Subdistrict, Kota Raja District, Kupang City. The uniqueness that is found in the Pedoa dance is the presence of the Kedu'e musical instrument that is tied to the dancer's feet. Thus there are eight (8) Kedu'e rhythm patterns or Pedoa dance rhythm patterns, namely (1) Tede rhythm patterns or Tede Motion Variations, (2) Manale rhythm patterns or Manale movements, (3) Hala rhythm patterns Hala motions, (4) Heroda Rhythm Patterns or Heroda range of motives, (5) Dede Rhythm Patterns or Dede Motion patterns, (6) Lung Rhythm Patterns or Lung motion variations, (7) Hegede Rhythm Patterns or Hegede Motion Variations, (8) The My Rhythm Pattern or My Variety of My Motion. The above rhythmic patterns vary in tempo, namely Andante, Moderato and Allergo. The tempo variation follows the rhythm of the song that is sung by dancers while dancing Pedoa, besides that the tempo change especially from Andante ketempo Alergo is a consideration so that dancers can take power in a variety of fast tempo dance moves. The rhythm or tempo produced by these two musical instruments will give enthusiasm to dancers and add an Estonian and dynamic feeling to the Pedoa dance.

Making video tutorials to help St. Francis of Assisi Parish in practicing the Dolo-dolo motive Ordinarium Maria Klara Amarilis Citra Sinta Dewi Tukan; Agustinus Beda Ama; Paskalis Romanus Langgu; Agustinus Renaldus Afoan Elu; Elvis Albertus Bin Toni
Abdimas: Jurnal Pengabdian Masyarakat Universitas Merdeka Malang Vol 7, No 3 (2022): August 2022
Publisher : University of Merdeka Malang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26905/abdimas.v7i3.7144

In regular masses, the ordinarium song consisting of Kyrie, Gloria, Sanctus, and Agnus Dei with Dolo-dolo motif is the most frequently sung. However, in reality, mistakes often happened when singing this ordinarium song, including inaccuracies in terms of accent and rhythm that do not characterize as the Dolo-dolo motif. This Community Service activity aims to help the parishioners of St. Fransiskus Assisi at BTN-Kupang City to sing the ordinarium song with the Dolo-dolo motif properly and correctly through producing tutorials. Making tutorials began with studying the ordinarium song with the Dolo-dolo motif by Matheus Weruin. Based on the results of the study, the team then made a video tutorial on how to sing the ordinarium song in a good and correct Dolo-dolo motif, starting from how to read the notation to reading the lyrics/poems. As meant to make it easier for people to learn the material provided. The most important matter emphasized in each tutorial is the accent and rhythm of the Dolo-dolo motif of each song. Based on the results from trials in small choir groups and evaluation with partners, using the video tutorial that has been made, the group was able to sing the ordinarium song with the Dolo-dolo motif properly and correctly for each type of sound or combined sound. The video was distributed to choir teams in the parish to be rehearsed and sung in celebration of the mass.

”DOLO-DOLO” SEBAGAI BENTUK MUSIK, TARI DAN SASTRA MASYARAKAT FLORES TIMUR (LAMAHOLOT), NTT Maria Klara Amarilis Citra Sinta Dewi Tukan
Harmoni: Jurnal Pemikiran Pendidikan, Penelitian Ilmu-ilmu Seni, Budaya dan Pengajarannya Vol 13, No 2 (2023): HARMONI: OCTOBER 2023
Publisher : Program Studi Pendidikan Seni Rupa Fakultas Keguruan dan Ilmu Pendidikan Universitas Muham

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26618/jh.v13i2.12886

: Dolo-dolo as a Kind of Music, Dance and Literary Community in East Flores (Lamaholot), NTT. Dolo-dolo is a kind of folk art that consist of music, dance and literature that comes from the East Flores (Lamaholot), NTT. There are many other similar arts can be found in every province from NTT that has the same elements. The art like this usually have the shape of ritual and entertainment by the performance art. Dolo-dolo is a kind of art from NTT that packaged in one complete presentation which has third of the art elements in a show. Such as in the form of dance, which is not only the dance that contained in the serving, but rather the elements of music and literature also very important in it. Based on its history and its development, Dolo-dolo has value and functionality in the local area connection that does not even have separated from Western culture. This became the basis of a mix of acculturation and inculturation are very complete.

Sasando Gaya Edon: Kajian Organologi dan Penyeteman Tukan, Maria Klara Amarilis Citra Sinta Dewi
Resital: Jurnal Seni Pertunjukan Vol 21, No 1 (2020): April 2020
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v21i1.3693

Sasando merupakan alat musik tradisional khas pulau Rote-NTT. Sasando merupakan alat musik keluarga sehingga memiliki beragam teknik penyeteman sesuai dengan gaya permainan masing-masing keluarga. Dewasa ini telah banyak penelitian yang dilakukan tentang sasando namun belum ada yang memberikan perhatian khusus pada teknik menyetem sasando. Penelitian ini merupakan penelitian kualitatif yang bertujuan untuk mendeskripsikan organologi dan teknik penyeteman sasando berdasarkan gaya Edon. Hasil penelitian menunjukkan bahwa sasando memiliki sembilan bagian utama yaitu: (1) koan, (2) kepala sasando, (3) sekrup pengikat dawai, (4) tabung bambu, (5) dawai, (6) senda, (7) haik (sebagai resonator pada sasando tradisional), (8) bokong sasando; dan (9) socket input/output (sasando elektrik). Berkaitan dengan penyeteman pada gaya Edon, sasando menggunakan beberapa tangga nada, misalnya tangga nada D dan A atau tangga nada E dan B, sehingga bisa melakukan modulasi. Untuk tangan kiri, permainan sasando gaya Edon menggunakan dua nada sol yaitu sol kecil sebagai center (melodi) dan sol besar (bas) yang terletak tepat di sebelah center searah jarum jam. Untuk melodi (tangan kiri), sasando disetem dari nada sol dengan nada setengahnya yaitu fis dan li pada nada tinggi, sedangkan komposisi nada rendahnya yaitu do, si, li, fis, sol. Untuk ritme (tangan kanan), sasando disetem dari bas searah jarum jam dengan nada do, re, mi, fa, sol, la, si, do sampai mi tinggi (masuk pada oktaf kedua), sedangkan dua dawai sisa disetem untuk nada fis dan cis. Selain dua dawai sisa tersebut, terdapat juga dawai-dawai di bagian melodi dekat center yang dapat digunakan untuk menempatkan nada-nada setengah lainnya.ABSTRACTEdon Style of Sasando: Organology and Tuning Studies.. Sasando is a traditional musical instrument typical of the island of Rote-NTT. Sasando is basically a family musical instrument so it has a variety of tuning techniques in accordance with the style of play of each family. Today there have been many studies conducted on sasando, but no one has paid particular attention to the sasando tuning technique. This research is a qualitative research that aims to describe the organology and sasando tuning techniques based on Edon's style. The results showed that sasando had nine main parts: (1) koan, (2) sasando head, (3) string screw, (4) bamboo tube, (5) string, (6) senda, (7) haik ( as a resonator in traditional sasando), (8) sasando buttocks; and (9) electric input / output sockets. In connection with tuning, in the Edon style, sasando is tuned using a number of scales, for example the D and A scales or E and B scales, so that they can do modulation. For the left hand, Edon Style uses two soles, namely small soles as the center (melody) and large soles (bass) which are located right in the center in a clockwise direction. For the melody (left hand), Sasando is tuned from the sol note with the half note ie fis and li on the high note, while the composition of the low notes is do, si, li, fis, sol. For rhythm (right hand), Sasando is tuned from the bass in a clockwise direction with the notes do, re, mi, fa, sol, la, si, do until the noodles are high (enter the second octave), and the remaining two strings are tuned for the fis and cis. In addition to these two strings, there are also strings in the melody section near the center that can be used to use the other half notes.Keywords: Sasando; Organology; Tuning Technique; Edon Style

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