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Introducing the Malay song Zapin "Usik- Mengusik" to Minangkabau Teenagers through SMK 2 Padang Panjang School, West Sumatra Sumbari Putra, Aldi; Enida, Delfi; Supriando, Supriando
Scoring: Journal of Film Music Vol 1, No 2 (2023): Scoring Jurnal of Film Musik
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/scoring.v1i2.3955

The song Zapin Usik Mengusik is a Malay Pop song in the zapin style created by a figure from Malaysia named Naz. This song was popularized by the Lakon Senario and Haida groups in neighboring Malaysia. This song is very suitable for teenagers who are in love. The rhythm of this song is typical Malay, verse after verse like a rhyme that follows each other. The author is interested in introducing this Malay song to Minang cultured teenagers who of course hear Minang songs more often. The author rearranged this song in the form of a Malay zapin-style ensemble using traditional and modern musical instruments including electric guitar, bass guitar, jimbe drum, string (keyboard), accordion (keyboard), cajon, tambourine, gendang kompang and vocals. This qualitative research is to see the response of Minangkabau cultural teenagers to Malay culture. To obtain this response, this research was supported by lecture methods, demonstrations, training, and evaluation methods. Response indicators are obtained when teenagers in the student category gain knowledge and are able to play and perform the Malay song Zapin Usik Mengusik in a musical ensemble format at SMKN 2 Padangpanjang through the song Zapin Usik Mengusik.

Keberadaan Musik Cenang Tigo Pada Prosesi Adat Perkawinan Di Kampung Air Meruap Kecamatan Kinali Kabupaten Pasaman Barat (The Existence of Cenang Tigo Music in Traditional Marriage Processions in Air Meruap Village, Kinali District, West Pasaman Regency) Azizah, Herni Fahtul; Emridawati, Emridawati; Enida, Delfi
Musica: Journal of Music Vol 3, No 1 (2023): MUSICA : JOURNAL OF MUSIC
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/musica.v3i1.3569

Penelitian ini bertujuan untuk mengetahui keberadaan, proses, dan bentuk musik tradisional cenang tigo dalam prosesi adat perkawinan maniti anak dan Pai Balimau. Penelitian ini berjenis kualitatif dengan memakai pendekatan sosiologi dan musikologi. Teknik pengumpulan data yang digunakan: studi pustaka dan studi lapangan, sedangkan teknik analisis data: reduksi data, sajian data dan penarikan kesimpulan. Hasil penelitian ini menunjukan bahwa pertunjukan musik tradisional cenang tigo keberadaannya dalam masyaraka,t karena melekat pada upacara adat sehingga sering digunakan oleh masyarakat. Para pemuka adat mewajibkan masyarakat yang melaksanakan prosesi tersebut untuk minta izin terlebih dahulu, hal ini tidak boleh dilanggar dan tidak boleh sembarangan membunyikan atau memukulnya. Secara musikalitas musik cenang tigo dimainkan oleh tiga orang pemain wanita di atas 40 tahun. Dimana masing-masing pemain bermain secara kompak dan indah menggunakan teknik interlocking yaitu melahirkan jalinan pola ritme yang berbeda dari ketiga instrumen. Adapun nada yang dimainkan oleh para pemain cenang tigo antara lain: Cenang Partamo mendekati nada (B/si), Cenang Kaduo mendekati nada (D#/re), dan Cenang Paningkah mendekati nada (G/sol).Kata Kunci : Cenang Tigo, Keberadaan, Prosesi Adat. ABSTRACTThis study aims to determine the existence, process, and form of traditional cenang tigo music in the customary marriage procession of Maniti Anak and Pai Balimau. This research is a qualitative type using sociology and musicology approaches. Data collection techniques used: literature study and field studies, while data analysis techniques: data reduction, data presentation and conclusion. The results of this study indicate that traditional cenang tigo music performances exist in society because they are attached to traditional ceremonies so that they are often used by the community. The traditional leaders oblige the people who carry out the procession to ask for permission first, this cannot be violated and they cannot be randomly honked or hit. Musically, Cenang Tigo is played by three female players over 40 years. Where each player plays compactly and beautifully using the interlocking technique, which creates a different rhythmic pattern from the three instruments. The notes played by the tigo cenang players include: Cenang Partamo approaching the tone (B/si), Cenang Kaduo approaching the tone (D#/re), and Cenang Paningkah approaching the tone (G/sol). Keywords: Form Of Performance, Cenang Tigo Music

Penerapan Teknik Violin dalam Menginterpertasikan Repertoar Concerto In G minor Rv 315, Fatwa Pujangga dan Tinggikan pada Pertunjukan Solis Violin (Application of the Violin Technique in Interpreting the Repertoire of the Concerto In G minor Rv 315, Fatwa of Poets and Elevation in Violin Solis Performances) Rosianda, Farid Ragel; Hendri, Yon; Enida, Delfi
Musica: Journal of Music Vol 3, No 1 (2023): MUSICA : JOURNAL OF MUSIC
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/musica.v3i1.3478

ABSTRAKKeberhasilan seorang solis biola dalam sebuah konser musik ditentukan oleh kemapuan dalam mempersipkan diri baik secara teknik maupun kemampuan ekspresi musikalnya. Untuk itu dalam hal ini dibutuhkan kematangan kemampuan dalam menginterpertasikan repertoar musik yang akan dimainkan. Teknik-teknik bermain biola yang bagaimana yang harus dipersiapkan, baik itu teknik gesekan (bowing) maupu teknik penjarian (finggering) dalam menginterertasikan tuntutan yang terdapat dalam repertoar musik serta bagaimana cara mengekspresikannya dalam bentuk pertunjukan/konser musik kepada penonton atau auidiens. Penulisan ini bertujuan untuk mengungkap keemampuan yang bagaimana yang harus dilakukan secara teknik permaian biola dalam menginterpertsikan tiga buah repertoar musik yang berbeda gaya/ style musiknya dan bagaimana cara mengekspresikan repertoar musik tersebut kepada penonton dalam sebuah pertunjukan solis violin yang diringi dalam bentuk string, ansamble, combo band.Kata kunci: Teknik, Repertoar dan Violin.ABSTRAK The success of a violin soloist in a music concert is determined by the ability to prepare oneself both technically and musically. For this reason, in this case, maturity is needed in interpreting the musical repertoire that will be played. What violin playing techniques must be prepared, both bowing and fingering techniques, in interpreting the demands contained in the musical repertoire and how to express them in the form of musical performances/concerts to the audience or audience. This writing aims to reveal what abilities should be carried out technically in playing the violin in interpreting three musical repertoires with different musical styles and how to express the musical repertoire to the audience in a solo violin performance accompanied in the form of strings, ensembles, combos Band. Keyword: Technique, Repertoire and Violin

Perkembangan Gending Dalam Pertunjukan Kuda Kepang Di Desa Tegal Arum Rimbo Bujang Provinsi Jambi (Development of Gending in the Braided Horse Show in Tegal Arum Rimbo Bujang Village, Jambi Province) Septyansyah, Ridho Bagas; Supriando, Supriando; Enida, Delfi
Musica: Journal of Music Vol 3, No 2 (2023): MUSICA : JOURNAL OF MUSIC
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/musica.v3i2.3878

GGending merupakan bagian yang sangat penting dalam pertunjukan kesenian tradisional Jawa kuda kepang, karena Gending berfungsi sebagai musik yang untuk mengiringi tarian dalam pertunjukan kuda kepang. Kuda kepang telah lama tumbuh dan berkembang di pulau Jawa. Namun kemudian kesenian ini mulai tersebar di luar pulau Jawa sebagai akibat dari difusi kebudayaan, sehingga dimungkinkan terjadi perkembangan Gending dalam pertunjukan kuda kepang di wilayah baru dengan kawasan yang bernama Rimbo Bujang. Tujuan dari penelitian ini adalah untuk mengetahui perkembangan Gending pada pertunjukan kuda kepang di Paguyuban Turonggo Eko Warno Budoyo Desa Tegal Arum Provinsi Jambi. Metode penelitian menggunakan metode penelitian kualitatif deskriptif analisis dengan pendekatan sosiologis. Hasil dari penelitian ini menunjukkan bahwa pertunjukan Gending di Paguyuban Turonggo Eko Warno Budoyo Desa Tegal Arum Provinsi Jambi mengalami perkembangan dari segi alat musik yang dimainkan mengalami penambahan jumlah dan lagu-lagu yang dimainkan juga mengalami penambahan serta penambahan pemain musik yang muda-muda.ABSTRACTGending is a very important part of the traditional Javanese art performance of Kuda Kepang, because gending functions as music to accompany the dance in the Kuda Kepang show. The braid horse has long been growing and developing on the island of Java. But then this art began to spread outside Java as a result of cultural diffusion, so that it was possible for the development of gending in horse braid performances in a new area called Rimbo Bujang. The purpose of this study was to determine the development of Gending in the horse braid show at the Turonggo Eko Warno Budoyo Association, Tegal Arum Village, Jambi Province. The research method uses a qualitative descriptive analysis research method with a sociological approach. The results of this study indicate that gending performances at the Turonggo Eko Warno Budoyo Association, Tegal Arum Village, Jambi Province experienced developments in terms of the musical instruments being played, experiencing an increase in the number and songs being played also experienced additions and addition of young music players.

Blues Of Sampelong Tamiba, Gion; Enida, Delfi; Hidayatmi, Hidayatmi
Scoring: Journal of Film Music Vol 2, No 2 (2024): Scoring Jurnal of Film Music
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/scoring.v2i2.3861

AbstrakKomposisi musik Blues of Sampelong adalah komposisi musik yang berangkat dari unsur musikal musik tradisional Minangkabau yaitu Sampelong. Unsur musik yang utamanya nada, dipadukan dengan gaya musik blues. Untuk mewujudkan itu, metode komposisi yang digunakan pada penggarapan musik ini adalah merujuk pada apa yang dikemukakan olah Alma M. Hawkins. Metodenya terdiri dari tiga tahap yaitu, tahap eksplorasi, tahap eksperimen dan tahap pembentukan. Tujuan dari penggarapan komposisi musik dengan metode ini adalah terciptanya kombinasi rasa baru suatu komposisi musik untuk orkestra atas paduan kesenian tradisional Minangkabau yaitu Sapelong dengan gaya musik blues. Hasil dari komposisi musik diberi judul Blues of Sampelong, di dalam komposisi bentuk musik tiga bagian ini, dengan berbaurnya rasa dari nada-nada sampelong dengan gaya blues memberikan nuansa baru yang unik untuk Orkestra.

Pertunjukan Solis Violin Melalui Karya Concerto In A Minor, Hang Tuah Dan Contradanza Hakim, Syarif Rahman; Enida, Delfi; Hidayatmi, Hidayatmi; Martarosa, Martarosa; Emridawati, Emridawati
Musica: Journal of Music Vol 5, No 1 (2025): MUSICA : JOURNAL OF MUSIC
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/musica.v5i1.4674

Artikel ini meneliti bagaimana solis violin mengekspresikan karakter budaya dan emosional dalam lagu Melayu Hang Tuah yang di bawakan dengan format orkestra, dengan fokus pada integrasi elemen musik tradisional Melayu ke dalam musik klasik Barat. Artikel ini menggunakan metodologi pertunjukan yang meliputi eksplorasi, persiapan, dan perwujudan. Hasil artikel ini menunjukkan bahwa solis violin menggunakan teknik yang menunjang untuk berinterpretasi dan berekspresi seperti vibrato dan dinamika, yang didasarkan pada pemahaman budaya mendalam. Kesimpulannya, interpretasi ini memerlukan kombinasi keterampilan teknis dan pemahaman budaya, serta pentingnya kolaborasi antara solis dan orkestra untuk mencapai ekspresi musik yang autentik.

AUTHENTIC ASSESSMENT IN MUSIC LEARNING Irwan; Yusnelli; Nofridayati; Iswandi; Nursyirwan; Delfi Enida
Indonesian Journal of Education (INJOE) Vol. 4 No. 1 (2024): APRIL
Publisher : CV. ADIBA AISHA AMIRA

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

The purpose of this study is to analyze and know how and what is related to the title of Authentic Assessment in Music Learning. This research method This form of research is qualitative with descriptive and critical analysis. Therefore, the author can elaborate comprehensively how Authentic Assessment In Music Learning. In this study, the author optimally used two data sources related to this study, namely. Primary data sources and secondary data sources. The main sources of this research are books and scientific journals on Authentic Assessment. The result of this study is that practical music education is an innovative method that needs to be further developed, considering the practical aspects that characterize art education in schools. As they create their pieces, students develop their musical skills and creativity, allowing them to collaborate in groups to create unique pieces of music. This "musical" music learning seems to be an answer to the tendency of music learning that is theoretical and linguistic that only prioritizes cognitive aspects.

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

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.

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