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All Journal Tekno - Pedagogi : Jurnal Teknologi Pendidikan Jurnal Sendratasik Humanus: Jurnal ilmiah Ilmu-ilmu Humaniora Grenek: Jurnal Seni Musik Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Journal of Urban Society´s Arts Gondang: Jurnal Seni dan Budaya Journal on Education Komposisi: Jurnal Pendidikan Bahasa, Sastra, dan Seni Satwika : Kajian Ilmu Budaya dan Perubahan Sosial Tonika: Jurnal Penelitian dan Pengkajian Seni Ranah Seni: Jurnal Seni dan Desain Melayu Arts and Performance Journal Jurnal Pengabdian Seni Bercadik: Jurnal Pengkajian dan Penciptaan Seni Ranah Research : Journal of Multidisciplinary Research and Development Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan JURNAL ILMIAH PENDIDIKAN MUSIK Pengabdian Seni Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik
Hidayat, Hengki Armez
Prodi Pendidikan Sendratasik, Universitas Negeri Padang
Arts Humanities Chemical Engineering, Chemistry & Bioengineering Civil Engineering, Building, Construction & Architecture Computer Science & IT Economics, Econometrics & Finance Education Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Materials Science & Nanotechnology Public Health Social Sciences Transportation Other

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Seni Tradisi Dan Kreativitas Dalam Kebudayaan Minangkabau Hengki Armez Hidayat; Wimbrayardi Wimbrayardi; Agung Dwi Putra
Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik Vol. 1 No. 2 (2019)
Publisher : Program Studi Pendidikan Musik FBS UNP

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/musikolastika.v1i2.26

Abstract

Masyarakat Minangkabau menganut falsafah-falsafah sebagai konsepsi yang implikasikan ke dalam kebudayaannya, salahsatunya yaitu dengan kehadiran kesenian. Kesenian dalam kebudayaan masyarakat Minangkabau hidup dan berkembang bersama perjalanan waktu serta daya kreativitas masyarakatnya dinamis. Penelitian ini merupakan jenis penelitian kualitatif dengan melakukan pengamatan terhadap kesenian, khususnya yang berhubungan dengan tradisi dan kreativitas dalam kebudayaan masyarakat Minangkabau dengan menggunakan pendekatan Hermeneutik dan studi literatur. Penelitian dilakukan dengan pengamatan mengenai bentuk-bentuk seni tradisi Minangkabau khususnya musik tadisi dan perkembangannya pada masyarakat Minangkabau. Hasil dan pembahasan dari penelitian ini antara lain mengenai; bentuk-bentuk kesenian tradisi Minangkabau dan kesenian dalam kebudayaan Minangkabau.
BENTUK PENYAJIAN TAMBUA TASA  PADA PROSESI ARAK-ARAKAN PERNIKAHAN OLEH GRUP BACENANG ART DI LUBUK BASUNG Randi Akbar, Randi Akbar; Hengki Armez Hidayat
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 4 No. 2 (2026): June (in press)
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/zsetk568

Abstract

This study aims to determine the form of Tambua Tasa presentation in the wedding procession by the Bacenang Art Group in Lubuk Basung. This type of research is qualitative with a naturalistic method. The research instrument is the researcher themselves, assisted by writing tools and a camera. Data is collected through literature study, observation, interviews and documentation. The steps of data analysis are data collection, data reduction, data presentation and data triangulation. The results show that the form of Tambua Tasa presentation in the wedding procession by the Bacenang Art Group in Lubuk Basung consists of the wedding procession and elements of performance form. The Tambua Tasa presentation procession at a wedding celebration in Lubuk Basung begins with the preparation stage, followed by the groom's procession to the bride's house with Bacenang Art starting to form the parade line and Tambua Tasa players performing various energetic rhythm patterns with an increasing tempo. Once the bridal party arrives at the bride's house and the traditional welcoming ceremony is completed, the Bacenang Art Group performs the closing repertoire with a gradually slowing tempo. The elements of the performance consist of players, musical instruments, floor patterns, performance time and place, and the audience. The number of players in a single performance usually ranges from 7 to 11 people. The musical instruments used are Tambua and Tasa, talempong, Pupuik Tanduak, the costumes worn are guntiang cino clothes or traditional Minang silek attire, with galemobong trousers, and additional headbands such as deta. Tambua Tasa performances by the Bacenang Art Group are usually held in the afternoon before the akad ceremony and the audience for Tambua Tasa performances usually comes from various segments of society.
The Application of Tilawah Rhythms in Ornamenting Islamic Songs at Mahabbah Voice Studio, Payakumbuh Indonesia Suci Mardiyah Hayati; Hengki Armez Hidayat
Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik Vol. 8 No. 1 (2026)
Publisher : Program Studi Pendidikan Musik FBS UNP

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/musikolastika.v8i1.404

Abstract

Objective: This study aims to analyze the use of Tilawah rhythms as ornamentation in Islamic songs, specifically in the song Bii Rasulillah at Mahabbah Voice Studio, Payakumbuh, focusing on musical characteristics, vocal techniques, and the expression of religiosity. Method: The study employed a qualitative approach with a content analysis method. The researcher served as the primary instrument, supported by writing tools and a camera to record audio and visual data. Data were collected through direct observation, literature review, interviews, and analysis of audio-video recordings of Bii Rasulillah. Data analysis followed steps of data collection, comprehension, coding, theme identification, and drawing conclusions. Results and Discussion: Findings indicate that Tilawah rhythms possess distinctive musical characteristics, structured melodic patterns, and diverse emotional nuances, supported by vocal techniques such as hight chest voice and proper breath control. Ornamentation in Bii Rasulillah includes the use of Bayyati, Hijaz, and Nahawand rhythms, integrating Tilawah and singing techniques in terms of melody inflection, dynamics, and vocal expression, producing a unique and religiously nuanced vocal character. Conclusion: This study confirms that integrating Tilawah rhythms as ornamentation in Islamic songs enriches singing techniques and shapes expressive, religiously inspired vocal performance, highlighting the potential of Tilawah as an aesthetic resource in contemporary Islamic music education.
Co-Authors Abdillah Dwi Ravins Abdullah, Arohiyah Achour, Zyed Adinda Putri Agung Dwi Putra Anggun Pitaloca Avila, Flor Amara Bambang Parmadi Belirda Wulan Dhari Desfiarni Desfiarni Dilfa, Alrizka Hairi Enda Surnia fauzan R Akbari Fauzi, Fakhri Ferdian, Robby Fitria, Ressy Fuji Astuti hadi, Harisnal Irdhan Epria Darma Putra Jagar Lumbantoruan Malikhatul Lailiyah Marzam Marzam Muthia Rahmawati Nursyirwan Nursyirwan Oktavina, Lucia Olan Yogha Pratama Ramadhan, Viqrie Randi Akbar, Randi Akbar Ressy Fitria Revellame Revellame Riri Trinanda Roald Marck J. Rosta Minawati Saduddin Saaduddin Sari, Ayuthia Mayang Silahudin, Syafa’atussara Suci Mardiyah Hayati Syafa’atussara Silahudin Syeilendra Syeilendra Uswatul Hakim Willa Maida Putri Wimbrayadi Wimbrayadi Wimbrayardi Wimbrayardi Yensharti Yusman, Ahmad Fauzan