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All Journal Tekno - Pedagogi : Jurnal Teknologi Pendidikan Jurnal Sendratasik Journal of Urban Society´s Arts Gondang: Jurnal Seni dan Budaya Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni JURNAL PENDIDIKAN TAMBUSAI Jurnal EDUTECH Undiksha Tonika: Jurnal Penelitian dan Pengkajian Seni Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan JURNAL ILMIAH PENDIDIKAN MUSIK Misterius: Publikasi Ilmu Seni dan Desain Komunikasi Visual Abstrak: Jurnal Kajian Ilmu Seni, Media dan Desain Jurnal Pustaka Cendekia Pendidikan KOLEKTIF: Jurnal Pendidikan, Pengajaran, dan Pembelajaran
Ferdian, Robby
Prodi Pendidikan Musik, Universitas Negeri Padang
Arts Humanities Education Languange, Linguistic, Communication & Media Materials Science & Nanotechnology Mathematics Social Sciences Other

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Formulasi Musik Deret dalam Penciptaan Komposisi Programa Berjudul Kupu-Kupu Terakhir Robby Ferdian; Fajry Sub'haan Syah Sinaga; Agung Dwi Putra
Tonika: Jurnal Penelitian dan Pengkajian Seni Vol 4 No 1 (2021): Volume 4 Nomor 1 Tahun 2021
Publisher : Sekolah Tinggi Theologia Abdiel

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Abstract

“Kupu-Kupu Terakhir” merupakan sebuah karya musik yang berjenis musik programa, karya musik ini memuat cerita tentang fenomena pencemaran udara dengan menggunakan bahasa musikal. Pencemaran udara yaitu sebuah bencana modern, sebuah bencana yang diakibatkan oleh kemajuan teknologi yang tidak dapat ditanggulangi dengan baik. Hal ini dapat menimbulkan bencana yang dahsyat bagi kelangsungan hidup manusia. Objek material yang digunakan pada karya ini dihasilkan dari proses interpretasi pengkarya terhadap hal-hal unik, menarik sekaligus hal memprihatinkan yang terdapat di lingkungan yang telah terpapar oleh pencemaran udara. Berdasarkan objek material tersebut, pengkarya membuat sebuah narasi musik yang menceritakan tentang kehidupan kupu-kupu normal yang terkena dampak dari pencemaran udara dan dimasuki oleh polutan, sehingga lama-kelamaan kupu-kupu tersebut akhirnya mati dan kehilangan tempat tinggalnya. Penciptaan pada karya ini diawali dengan melakukan penelitian terhadap lingkungan, khususnya udara dan mengidentifikasi karakteristik dari binatang kupu-kupu, polutan (unsur dan senyawa yang menciptakan polusi), dan suasana homeostasis (Keseimbangan lingkungan). Kemudian pada perwujudannya material tersebut diinterpretasikan menjadi bahasa musikal dengan menggunakan tekhnik penciptaan pada musik Barat.
Silabel Ritmis dalam Pembelajaran Musik Agung Dwi Putra; Robby Ferdian; Hengki Armez Hidayat
Tonika: Jurnal Penelitian dan Pengkajian Seni Vol 4 No 2 (2021): Volume 4 Nomor 2 Tahun 2021
Publisher : Sekolah Tinggi Theologia Abdiel

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Abstract

Penelitian ini bertujuan untuk mendeskripsikan beberapa analisis kritis tentang formulasi ritmis dan karakteristiknya dalam pembelajaran musik. Pembahasan Ritmis dalam pembelajaran musik menjadi sangat penting untuk dipelajari karena berkaitan dengan proses pembelajaran musik pada tahap selanjutnya. Pendekatan Desain Based Research digunakan sebagai landasan awal dalam mengkaji formula ritmis dalam pembelajaran musik. Penelitian ini dilakukan pada mata kuliah Teori Musik pada Prodi Pendidikan Musik, Universitas Negeri Padang. Hasil penelitian menunjukan bahwa terdapat beberapa karakteristik dalam jenis-jenis silabel ritmis. Salah satu karakteristik dari ritmis yang sering dijumpai adalah ketika mahasiswa tidak memahami secara menyeluruh tentang nilai atau durasi pada not, maka mahasiswa akan mengalami kendala dalam membaca ritmis dengan tepat. Selanjutnya, mahasiswa akan mengalami kendala dalam menuliskan notasi baik pada notasi balok maupun notasi angka. Seluruh karakteristik tersebut nantinya akan bermuara pada mata kuliah Praktik Instrumen Mayor. Penelitian ini masih pada tataran analisis singkat terkait dengan kendala yang dihadapi pada pembelajaran ritmis, sehingga diharapkan pembahasan tentang ritmis dapat dilakukan pada penelitian selanjutnya.
Pengembangan Modul Pembelajaran Teori Musik Pada Prodi Pendidikan Musik Fakultas Bahasa Dan Seni Universitas Negeri Padang Agung Dwi Putra; Irdhan Epria Darma Putra; Robby Ferdian
Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik Vol 1 No 1 (2019)
Publisher : Program Studi Pendidikan Musik FBS UNP

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/musikolastika.v1i1.15

Abstract

Prodi Pendidikan Musik UNP tentu harus mampu memfasilitasi kebutuhan pembelajaran teori musik bagi mahasiswa secara optimal, mengingat perannya yang sangat fundamental. Namun faktanya, Prodi Pendidikan Musik UNP sampai saat ini (tahun kedua berjalan) masih belum memiliki modul pembelajaran teori musik yang dapat digunakan dalam proses pembelajaran teori musik. Pertimbangan untuk mengembangkan modul pembelajaran teori musik interaktif dengan memperhatikan gaya hidup mahasiswa saat ini, menjadi kunci bagi penelitian ini. Dalam penelitian ini, tim peneliti menerapkan metode penelitian dan pengembangan model ADDIE karena diyakini efektif untuk digunakan sebagai pengembangan modul pembelajaran interaktif
Penerapan Primary Chord dan Secondary Chord dengan Pendekatan Primary Beat pada Mata Kuliah Harmoni Manual Olan Yogha Pratama; Robby Ferdian
SENDRATASIK UNP Vol 11, No 3 (2022)
Publisher : FBS Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (884.845 KB) | DOI: 10.24036/js.v11i3.119309

Abstract

This study aims to provide basic knowledge and skills for students in the application of Primary and Secondary Chords by limiting the chord composition roadmap centered on the melody of the song which is in the primary beat position. This research can be used as a reference for students in restructuring the Chord Progression of a song or better known as the Reharmonization of Chord for the beginner stage. This research method uses a qualitative research method with an Art Practice-Based Research approach with the object of study in the form of a Kelok Sembilan folk song and a literature study on the theory of the concept of the application of Primary and Secondary Chord harmonies. The results showed that the Primary Beat approach made it easier for students to determine the chord progression arrangement for the song twists, students only needed to follow the strong beats of each bar as a reference for determining the chord progression, so both in theory and practice, students did not have much difficulty playing it. This approach is also very effective to be applied in restructuring the chord progression of other simple songs because it is able to give a newer and fresher feel to the chord progression. 
RONDO'S MUSIC SECTIONAL FORM AND STRUCTURE "ALLA TURCA" BY WA. MOZART Ance Juliet Panggabean; Robby Ferdian
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 25, No 1 (2023): Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPM Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/ekspresi.v25i1.3118

Abstract

 Abstract The Form and Sectional Structure of “Alla Turca” Rondo Music by WA. Mozart. The basic method that will be applied in this research is a qualitative descriptive method. In addition, the approach method used was the library method so that it was found and produced the Sectional Forms and Structures of WA's Rondo "Alla Turca" Music. Mozart. famous for its characteristic piano music, its musical form has a distinctive classical Rondo structure pattern, A B C B A B' and Coda. In addition to the typical 'brilliant' Rondo Form structure in Baroque terms, the use of chord levels (harmony progression) and rhythmic playing makes Rondo's music more lively, fast, and joyful. The sectional structure in Rondo Alla Turca Music by W. A. Mozart, the basis of the scale is diatonic-tonality, the basis of harmony is tri- voice major and minor, the rhythmic basis is duple and triple and symmetrical patterns, while the cadence (V-I or I-V-I), (V- VII7), (IV-I), (V-VI), (IV6-V-II). Form and sectional structure of Alla Turca rondo music. needs to be analyzed to describe music through forms, melodic sequences, tones, rhythms and harmonies that form a unified composition. This is done because music analysis is an important part of music theory, directed towards an approach towards musical understanding to be able to lead to understanding. In the listening process, the ability to follow a melodic groove in a musical pattern in a musical composition becomes a very important fundamental thing. In order to gain an understanding and understanding of the form and sectional structure of Alla Turca's rondo music, one must start from musical grammar, compositional techniques, form, structure, harmony, musical style.Keywords: Form; Sectional Structure; Music; RondoBENTUK DAN STRUKTUR SEKSIONAL MUSIK RONDO" ALLA TURCA" KARYA W.A MOZARTAbstrakBentuk dan Struktur Seksional Musik Rondo “Alla Turca” Karya WA. Mozart. Teknik analisis data adalah deskriptif kualitatif yang merupakan metode penelitian yang menganalisis tentang persepsi untuk mendapatkan informasi lengkap tentang bentuk dan struktur seksional musik rondo “Alla Turca” karya WA. Mozart. Terkenal dengan ciri khas musik piano, bentuk musikalnya memiliki pola struktur Rondo Klasik yang khas, A B C B A B’ dan Coda. Selain pola struktur Rondo Form yang khas ‘brilliant’ dalam istilah Barok, penggunaan tingkat akor (progressi harmoni) dan permainan ritme menjadikan musik Rondo ini lebih lincah, cepat, gembira. Struktur seksional dalam musik Rondo Alla Turca Karya W. A. Mozart, dasar tangga nada adalah tonalitas-diatonis, dasar harmoni tri suara mayor dan minor, dasar ritmis adalah duple dan triple serta pola-pola simetris, sedangakn kadens (V-I atau I-V-I), (V-VII7), (IV-I), (V-VI), (IV6-V-II). Bentuk dan struktur seksional musik rondo Alla Turca karya WA. Mozart penting dilakukan analisis untuk menguraikan musik melalui bentuk, rangkaian melodi, jalinan nada, ritme dan harmoni yang menjadi kesatuan komposisi. Hal ini dilakukan karena analisis musik adalah ilmu yang mempelajari hubungan antar elemen musik yang memperhatikan unsur musik yaitu, melodi, ritme dan harmoni secara detail yang menyusun karya tersebut.Untuk memperoleh pengertian dan pemahaman tentang bentuk dan struktur seksional musik rondo Alla Turca harus bertitik tolak dari gramatika musik, teknik komposisi, bentuk, struktur, harmoni, gaya musik.Kata Kunci:  Bentuk; Struktur seksional; Musik; Rondo 
Pelaksanaan Pembelajaran Seni Budaya Melalui Tatap Muka Terbatas di SMAS Salafiyah Babussalam Muhassar Sidiq; Robby Ferdian
SENDRATASIK UNP Vol 12, No 1 (2023)
Publisher : FBS Padang State University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/js.v12i1.121040

Abstract

This study aims to find out how forms of implementation of cultural arts learning through limited face-to-face meetings and find the best solutions in overcoming problems in new learning methods. This type of research is qualitative research with a case study method. The research instrument is the researcher concerned and with the help supported by supporting instruments which include tools for taking pictures or photos (cameras), file or data storage tools (flash drives), and stationery. The data in this study there are primary data and secondary data. Interviews, literature studies, and observations are activities carried out in data collection techniques. The steps to analyze the data are data reduction, data presentation and conclusion. Based on what was obtained, the research showed that the process of learning arts and culture through limited face-to-face sessions in class XI IPS SMAS Salafiyah Babussalam was quite good. Even though there are limitations in learning media, the teacher teaches music learning material to follow the flow, where the teacher provides music material using a gradual way to adjust the level of a student's capacity to receive material even though the learning time is relatively short. However, there are obstacles that make it difficult to achieve the final results or learning objectives properly due to the lack of learning time, as well as the unavailability of musical instruments to support the practical learning process, so the teacher only uses the lecture method during material delivery. However, learning outcomes are not too bad because students' interest in learning and students' desire to explore the material is very high even though the learning is monotonous, when viewed from the results obtained based on daily test activities which are quite good.
Menjelajahi Komposisi Musik Instrumental Kontemporer: Teknik dan Tren di Era Modern Robby Ferdian; Hengki Armez Hidayat; Irdhan Epria Darma Putra; Olan Yogha Pratama
SENDRATASIK UNP Vol 12, No 2 (2023)
Publisher : FBS Padang State University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/js.v12i2.122679

Abstract

Contemporary instrumental music has developed rapidly in recent decades, creating unique sounds and attracting the attention of many listeners. This article aims to explore the techniques and trends in contemporary instrumental music composition in the modern era. The methods used in this research are data analysis and literature review, which include case studies of several prominent instrumental music composers, as well as a review of the latest techniques in contemporary instrumental music composition. The results of this research show that in contemporary instrumental music composition, composers use various techniques to create more dynamic and complex music. Some commonly used techniques are the use of complex harmonies, unusual musical instruments, and modern technology to create innovative sound effects. Trends in contemporary instrumental music composition also continue to change over time, ranging from the fusion of different music genres to the use of AI technology and real-time music applications for sound design. In conclusion, this article provides an overview of the techniques and trends in contemporary instrumental music composition in the modern era. It is hoped that this will provide insights and inspiration for composers, music enthusiasts, and stakeholders in the music industry to continue to develop and create innovative and interesting music in the future.
Analysis of Timbre in Melodic Arrangements of Popular Minang Songs Using a Spectrum Analyzer Robby Ferdian; Irdhan Epria Darma Putra; Hengki Armez Hidayat; Ressy Fitria; Revellame Revellame; Roald Marck J.
Journal of Urban Society's Arts Vol 10, No 1 (2023): April 2023
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jousa.v10i1.9357

Abstract

Timbre is one of the main elements considered in musical arrangements, including contemporary Minang pop songs which have undergone significant development due to improvements in recording studio quality and increasingly qualified human resources. This study aims to describe the instrumentation and examine the characteristics of timbre in melodic instruments used in contemporary Minang pop song arrangements. Ableton Live 10 and Izotope Insight 2 software were used to analyze the audio spectrum produced by melodic instruments in recent Minang song arrangements. The results of audio processing using spectrum analyzer show that three main timbres of Minang songs are circulating and viral on social media: Acoustic Guitar, Bansi, and Overdrive Guitar. The first two instruments typically fill the melody line in the Intro, Interlude, and Coda, while the third instrument acts as a melody carrier in the transition part of the song. The instrumentation used in Minang song arrangements consists of acoustic instruments, specifically  Yamaha  guitars with Fishman Preamps, VST Instruments Sampletank2, and Real eight guitars. In this study, only two timbres were analyzed using the application: Acoustic Guitar and Bansi. The software analysis reveals that the two melodic timbres have unique characteristics formed by different overtone series formulas, with Acoustic Guitar having approximately 15 overtone pieces and Bansi having 8. Based on the results generated by the audio analysis application Izotope Insight 2, the timbre of guitar and bansi in contemporary Minang pop songs exhibit two unique characteristics. The guitar demonstrates a rich character with a significant number of overtone series at high frequencies. On the other hand, bansi tends to have a smooth and soft character due to its less dominant frequency points at each interval and lower amplitudes. Analisis Timbre pada Aransemen Melodik Lagu Minang Populer Menggunakan Spectrum Analyzer. Timbre merupakan salah satu elemen utama yang menjadi sorotan dalam menciptakan sebuah aransemen musik, begitupun dalam lagu pop Minang kontemporer yang telah mengalami perkembangan signifikan karena adanya peningkatan kualitas studio rekaman dan sumber daya manusia yang semakin berkualitas. Penelitian ini bertujuan untuk menggambarkan instrumen dan mengeksplorasi karakteristik timbre pada instrumen melodi yang digunakan dalam aransemen lagu pop Minang kontemporer. Penelitian ini menggunakan perangkat lunak Ableton Live 10 dan Izotope Insight 2 untuk menganalisis spektrum audio yang dihasilkan oleh instrumen melodi dalam aransemen lagu Minang terbaru. Hasil penelitian menunjukkan bahwa terdapat tiga timbre utama yang menjadi populer dalam lagu-lagu Minang masa kini yaitu: Gitar Akustik, Bansi, dan Gitar Overdrive. Dua instrumen pertama biasanya mengisi garis melodi pada Intro, Interlude, dan Coda, sedangkan instrumen ketiga berfungsi sebagai pembawa melodi pada bagian transisi lagu atau fill in. Instrumen yang digunakan dalam aransemen lagu Minang terdiri dari instrumen akustik berupa gitar dengan merk Yamaha dengan preamp Fishman, VST Instruments Sampletank2, dan gitar Real 8. Dalam penelitian ini, hanya dua timbre yang dianalisis menggunakan perangkat lunak yaitu: Gitar Akustik dan Bansi. Analisis perangkat lunak tersebut mengungkapkan bahwa dua timbre melodi memiliki karakteristik yang unik yang dibentuk oleh formula seri overtone yang berbeda, dengan Gitar Akustik memiliki sekitar 15 bagian overtone Series dan Bansi memiliki 8 Overtone Series. Berdasarkan sinyal audio yang dihasilkan oleh aplikasi, timbre melodi lagu Minang populer ditandai oleh gitar dengan warna  yang kaya dan Bansi dengan warna yang lembut dan halus. Selain itu, semua audio yang diperoleh dari sumber memiliki kualitas yang sangat baik.Timbre is one of the main elements considered in musical arrangements, including contemporary Minang pop songs which have undergone significant development due to improvements in recording studio quality and increasingly qualified human resources. This study aims to describe the instrumentation and examine the characteristics of timbre in melodic instruments used in contemporary Minang pop song arrangements. Ableton Live 10 and Izotope Insight 2 software were used to analyze the audio spectrum produced by melodic instruments in recent Minang song arrangements. The results of audio processing using spectrum analyzer show that three main timbres of Minang songs are circulating and viral on social media: Acoustic Guitar, Bansi, and Overdrive Guitar. The first two instruments typically fill the melody line in the Intro, Interlude, and Coda, while the third instrument acts as a melody carrier in the transition part of the song. The instrumentation used in Minang song arrangements consists of acoustic instruments, specifically  Yamaha  guitars with Fishman Preamps, VST Instruments Sampletank2, and Real eight guitars. In this study, only two timbres were analyzed using the application: Acoustic Guitar and Bansi. The software analysis reveals that the two melodic timbres have unique characteristics formed by different overtone series formulas, with Acoustic Guitar having approximately 15 overtone pieces and Bansi having 8. Based on the results generated by the audio analysis application Izotope Insight 2, the timbre of guitar and bansi in contemporary Minang pop songs exhibit two unique characteristics. The guitar demonstrates a rich character with a significant number of overtone series at high frequencies. On the other hand, bansi tends to have a smooth and soft character due to its less dominant frequency points at each interval and lower amplitudes.
Development of Body Movement Skills Using Illustrative Music as a Stimulus in Dance Learning Venny Rosalina; Susmiarti Susmiarti; Robby Ferdian
Gondang: Jurnal Seni dan Budaya Vol 7, No 2 (2023): GONDANG: JURNAL SENI DAN BUDAYA, DECEMBER 2023
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gondang.v7i2.52344

Abstract

This research explores the use of illustrative music as a stimulus for skill development in the field of body movement within the Dance Education program at Padang State University (UNP). Illustrative music aids in motivation, rhythm regulation, concentration, emotional expression, memory, creativity, body mobility, and flexibility in the dance body movement courses. The research employs a qualitative methodology involving interviews, observations, and document analysis to investigate the impact of illustrative music. The findings of the study indicate that the use of illustrative music, such as Minangkabau ethnic music and classical music, during dance body movement exercises provides a positive boost to skill development, emotional expression, and movement comprehension within the art of dance. Through this approach, the Dance Education program at UNP creates a deep, holistic learning environment for body movement in the art of dance.
Revitalizing Local Culture in Nusantara Music Irdhan Epria Darma Putra; Wimbrayardi Wimbrayardi; Robby Ferdian
Gondang: Jurnal Seni dan Budaya Vol 7, No 2 (2023): GONDANG: JURNAL SENI DAN BUDAYA, DECEMBER 2023
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gondang.v7i2.52666

Abstract

Revitalization is a systemic process and methodology to reactivate local potentials in the context of preserving important cultures in the face of changing times. Revitalization of local culture as a big job, not just an activity to explore the heritage of tradition and then preserve it. Rather, that local culture stored in cultural heritage is used as a light in accompanying and coloring the musical character of the nation. Change can only be through real activities and not discourse, "this is where creativity and cultural values that can build human character lie. The collapse of traditional culture is not impossible that the Indonesian nation will lose its identity in the future. The degradation of the younger generation's interest in learning about their local culture must be resolved immediately.
Co-Authors Achour, Zyed Agit Anriani Agung Dwi Putra Avila, Flor Amara Belirda Wulan Dhari Benovan Rahmandicca Dimas Frans Widevanto Fajry Sub'haan Syah Sinaga Fauzi, Fakhri Fitria, Ressy Hazfira, Nasyiah Diova Hidayat, Hengki Armez Irdhan Epria Darma Putra Jaiz, M. Malikhatul Lailiyah Muhassar Sidiq Novita Efendi Olan Yogha Pratama Prasetya, Dwiky Pratama, Olan Yogha Randi Restu Hadi Ressy Fitria Revellame Revellame Roald Marck J. Sari, Ayuthia Mayang Satria Hanif Silvi Ulandari Susmiarti Syafruddin, Afiq Syafli Tri Puti Anggini Rahmania Venny Rosalina Wimbrayardi Wimbrayardi