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All Journal Jurnal Sendratasik Humanus: Jurnal ilmiah Ilmu-ilmu Humaniora Gorga : Jurnal Seni Rupa MUDRA Jurnal Seni Budaya Gondang: Jurnal Seni dan Budaya Jurnal PGSD: Jurnal Ilmiah Pendidikan Guru Sekolah Dasar JURNAL PENDIDIKAN TAMBUSAI Komposisi: Jurnal Pendidikan Bahasa, Sastra, dan Seni Ranah Seni: Jurnal Seni dan Desain Al-DYAS : Jurnal Inovasi dan Pengabdian kepada Masyarakat Lencana: Jurnal Inovasi Ilmu Pendidikan Jurnal Kajian dan Penelitian Umum Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Jurnal Arjuna : Publikasi Ilmu Pendidikan, Bahasa dan Matematika Atmosfer: Jurnal Pendidikan, Bahasa, Sastra, Seni, Budaya, Dan Sosial Humaniora JURNAL ILMIAH PENDIDIKAN MUSIK Abstrak: Jurnal Kajian Ilmu Seni, Media dan Desain Imajinasi: Jurnal Ilmu Pengetahuan, Seni, dan Teknologi Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik
Wimbrayardi Wimbrayardi
Prodi Pendidikan Sendratasik, Universitas Negeri Padang
Religion Arts Humanities Computer Science & IT Decision Sciences, Operations Research & Management Economics, Econometrics & Finance Education Health Professions Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Materials Science & Nanotechnology Mathematics Social Sciences Other

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Musik Garap Emotion of Sikatuntuang Sebagai Media Kreatif Musikal Siswa Sekolah Dasar Wimbrayardi, Wimbrayardi; Putra, Irdhan Epria Darma; Parmadi, Bambang
Jurnal PGSD Vol 14 No 1 (2021)
Publisher : UNIB Press

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33369/pgsd.14.1.90-98

Abstract

Music is a sound that is gotten by people and fluctuates dependent on history, area, culture and individual preferences. The genuine meaning of music additionally shifts, including that (1) music is a sound/impression of something that is caught by the audience's detects, (2) music is a showstopper with all its primary and supporting components, and (3) music is all sounds. delivered deliberately by an individual or by a gathering of people introduced as music. From a portion of these definitions, music is all sounds created by people purposefully which are introduced as music. Different examinations have shown that improving music knowledge in grade school understudies should be possible differently, including (1) presenting music in the homeroom, (2) tuning in to music, (3) playing instruments in class. For each reason, the class is improved with music utilizing a wide range of methods. The utilization of music in the homeroom will help increment the fervor of elementary school understudies in learning and simultaneously can expand the adequacy of accomplishing objectives. No less significant is learning through music and additionally learning with music, and finding out about music can give numerous advantages to the physical and mental improvement of elementary school understudies.
Musik Seruling Bambu pada Kelompok Saiyo Sakato Desa Tebat Ijuk Kecamatan Depati VII “Deskripsi Musikologis” Sepira, Qorie; Wimbrayardi Wimbrayardi; Ayuthia Mayang Sari
Imajinasi : Jurnal Ilmu Pengetahuan, Seni, dan Teknologi Vol. 2 No. 4 (2025): Desember : Imajinasi : Jurnal Ilmu Pengetahuan, Seni, dan Teknologi
Publisher : Asosiasi Seni Desain dan Komunikasi Visual Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62383/imajinasi.v2i4.984

Abstract

This study aims to examine the relationship between text and melody in Bamboo Flute Music in Depati VII District. This research is qualitative with a descriptive content analysis approach. The research object is Bamboo Flute Music, with data collected through literature study, observation, interviews, and documentation. The research analyzed the data by examining the form, melody, and the relationship between text and melody in the song "Bungo di Laman". The results show that there are 10 kinds of rhythmic forms in this song, both of which are the development of previous forms and new formations. The flute melody in the tale "Bungo di Laman" is dominated by ascending melodic movement, where the melody tends to rise to a higher pitch. The descending movement in the flute melody is only used as a bridge to the next ascending movement. The same applies to the vocal melody in the tale, where the ascending movement is dominant and the descending movement only serves as a bridge. The pronunciation style of the story "Bungo di Laman" is predominantly syllabic, with 316 syllables pronounced syllabically.
MANAJEMEN ARDIMAN DALAM PENGELOLAAN SANGGAR TARI SAIYO SAKATODI KOTA PADANG Andina, Alya; Wimbrayardi
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 3 No. 3 (2025): October
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/av913678

Abstract

This study aims to understand and describe Ardiman Management in the management of the Saiyo Sakato Dance Studio in Padang City. This type of research is qualitative with a descriptive method. The main instrument in this study is the researcher themselves, assisted by writing tools, a camera and a voice recorder. Data is collected through literature review, observation, interviews and documentation. The steps to analyse the data are data reduction, data presentation and drawing conclusions. The results of the study show that Ardiman's management in managing the Saiyo Sakato Dance Studio in Padang City consists of planning, organising, actuating and controlling. Planning at the Saiyo Sakato Studio includes short-term and long-term programmes, with short-term programme planning involving regular practice, while long-term programmes are carried out over a period of one year and include overall organisational activity plans. The organisation of Sanggar Saiyo Sakato includes the leader, treasurer, secretary and coach. The activities of Sanggar Saiyo Sakato involve providing motivation, setting examples/role models and giving instructions. The supervision of Sanggar Saiyo Sakato includes internal control and external control. Internal control involves all management elements, primarily Mr Ardiman as the leader of the studio, while external control involves parties outside the management structure of Sanggar Saiyo Sakato who have cooperative relationships, such as the tourism office, educational institutions, and other relevant agencies.
PERUBAHAN PELAKSANAAN TRADISI BATOMBEDI NAGARI ABAI KABUPATEN SOLOK SELATAN Wahyu Novsa Rahma Dani; Wimbrayardi
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 3 No. 3 (2025): October
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/7hd00051

Abstract

This study aims to describe the changes in the implementation of the Batombe tradition in the past and present in Nagari Abai, South Solok Regency. This research is a qualitative descriptive study. The research instruments are the researchers themselves, assisted by writing tools and a camera. Data was collected through literature review, observation, interviews and documentation. The steps to analyse the data are data reduction, data presentation and drawing conclusions. The results show that the implementation of the Batombe tradition in Nagari Abai, South Solok Regency has experienced changes, which were previously carried out spontaneously and simply without stage arrangements and now appear more modern and organised, complemented by additional musical instruments, performance costumes, and the use of stage arrangements and sound technology. The factors causing changes in the practice of the Batombe tradition include the influence of globalisation on people's entertainment patterns, modernization as an effort for adaptation and preservation, shifts in the social values and functions of Batombe, changes in youth participation patterns, media, and the commercialization of traditional arts. The impacts of changes in the practice of the Batombe tradition consist of positive and negative effects. Positive effects can prolong the life of the tradition through adaptation to contemporary times, while negative effects involve the erosion of customary values and sacredness due to modernization, which means the displacement of customary values and sacredness that form the soul of the Batombe tradition.
PERTUNJUKAN KESENIAN TRADISI DALAM ACARA BAKAUA DI NAGARI KOTO TUO KABUPATEN SIJUNJUNG Marshella Saskia Bonita; Wimbrayardi
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 4 No. 1 (2026): Februari
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/a2r1c492

Abstract

This study aims to describe the forms of performances and arts presented in the series of Bakaua traditional events in Nagari Koto Tuo. The type of research is qualitative with a descriptive analytical method. The research instrument is the researcher themselves, assisted by stationery, a camera and a voice recorder. Data was collected through literature study, observation, interviews and documentation. The steps of data analysis are data collection, data reduction and drawing or verifying conclusions. The results of the study show that Bakaua is a customary tradition that is still maintained as a form of the community's gratitude to Allah SWT for the harvest and to strengthen social togetherness. This tradition is rooted in the life of agrarian communities and is carried out through structured stages, beginning with a deliberation by the niniak mamak, the opening of customs through the pasambahan speech, collective prayers, the delivery of customary advice, and finally the shared meal of bajamba as a symbol of community solidarity. In addition to the customary and religious proceedings, Bakaua is also complemented by elements of traditional arts such as the pasambahan dance, plate dance, silek, randai, accompanied by talempong and gandang music. The presence of these arts shows that Bakaua functions not only as a customary ceremony but also as a medium for cultural preservation and strengthening the identity of the Nagari Koto Tuo community. Thus, the Bakaua tradition holds significant social, cultural, and spiritual values in maintaining the continuity of Minangkabau customs amidst the developments of the times.
BENTUK DAN TEKNIK GERAK BAGI IBU-IBU USIA LANJUT DALAM TARI TAMPURUANG DI KENAGARIAN SARIBU RUMAH GADANG SOLOK SELATAN Nada Aulia Arva; Wimbrayardi
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/f7asp745

Abstract

This research is motivated by the declining public interest in Tampuruang dance performances. Currently, Tampuruang dance has begun to be neglected, especially by teenagers. The aim of this study is to revive interest and to understand the Forms and Movement Techniques of Tampuruang Dance as well as the meaning of movements in the local cultural context. The method used in this study is a qualitative approach with a descriptive method. The research instrument is the researcher themselves, supported by tools such as writing materials, a camera, and video or audio recordings. Data collection techniques include observation, interviews, and documentation. The results of the study indicate that Tampuruang Dance has core movements as well as movements that carry meaning, consisting of 7 movement forms and techniques that emphasise leg and arm movements.
STUDI TEKNIK PERMAINAN HARMONIUM PADA KESENIAN KATUMBAK DI KORONG MUARO NAGARI KURAI TAJI KECAMATAN NAN SABARIS (ANALISIS PROSES TRAINING ERI SUSANTI) Salsabila, Ajari; Wimbrayardi
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/h9e08j69

Abstract

This study uses a qualitative approach with a descriptive method. The research object is the Harmonium playing technique in the art of Katumbak, focusing on the training process that shapes the players' skills. The research data consists of primary and secondary data. The main research instrument is the researcher, supported by writing tools and documentation equipment. Data collection techniques are carried out through observation, interviews, and documentation, while data analysis is conducted through data reduction, data presentation, and drawing conclusions and verification. Research results show that Eri Susanti's harmonium playing technique in Katumbak art is marked by mastery of stable bellow control, resulting in an uninterrupted flow of sound, the use of flexible and efficient fingering techniques, and the application of simple chords to support harmony, which are then developed through characteristic melodies and ornamentation that follow the vocal patterns and rhythms of Gandang, making the performance sound lively and cohesive. Eri Susanti's training process took place gradually from the age of 8 until she became proficient at the age of 68 through non-formal learning by observing, imitating, and repeating without using musical notation, starting from sound recognition, mastering melodies, to the ability to improvise in performances. This was reinforced through direct involvement in practice and performances, thus developing musical sensitivity, technical skills, and the ability to adapt to other instruments. Consequently, Eri Susanti not only served as a Harmonium player, but also as the musical control centre determining the direction and quality of Katumbak performances and became an important figure in the process of cultural heritage transmission in the community.
Musik Tradisi Sebagai Salah Satu Sumber Pengembangan Karya Cipta Wimbrayardi Wimbrayardi
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.v1i1.10

Abstract

Kreativitas para seniman musik untuk meningkatkan apresiasi di dalam masyarakat, dengan menciptakan bentuk baru yang sumbernya dari idiom-idiom kesenian tradisional. Untuk mengembangkannya perlu menganalisis konsep-konsep yang ada dalam seni tradisi tersebut. Hal ini agar tidak meninggalkan nilai-nilai yang terkandung di dalam kesenian tradisi itu, selain itu dengan menciptakan musik baru diharapkan dapat menambah perbendaharaan suatu bentuk kesenian tradisi dalam bentuk baru yang menjadi kebanggaan masyarakat pendukung kesenian itu
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.
Manajemen Sanggar Alang Bangkeh di Kota Padang Panjang Chayrunisa, Ririn; Wimbrayardi, Wimbrayardi
Jurnal Pendidikan Tambusai Vol. 10 No. 1 (2026)
Publisher : LPPM Universitas Pahlawan Tuanku Tambusai, Riau, Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31004/jptam.v10i1.37445

Abstract

Penelitian ini bertujuan untuk mengidentifikasi dan mendeskripsikan Manajemen Sanggar Alang Bangkeh di Kota Padang Panjang. Jenis penelitian ini adalah penelitian kualitatif dengan metode deskriptif. Instrumen penelitian ini adalah peneliti sendiri dan dibantu dengan instrumen pendukung seperti alat tulis kamera digital dan perekan suara. Data dikumpulkan melalui studi pustaka, observasi, wawancara dan dokumentasi. Langkah-langkah menganalisis data adalah pengumpulan data, mereduksi data, menyajikan data dan verifikasi data. Hasil penelitian menunjukkan bahwa cara mengelola Sanggar Alang Bangkeh di Kota Padang Panjang mencakup beberapa tahap seperti perencanaan, pengorganisasian, pergerakan, dan pengawasan. Pada tahap perencanaan di Sanggar Alang Bangkeh dilakukan secara bertahap, yaitu meliputi program jangka pendek, menengah, dan jangka panjang, serta strategi promosi dan pemasaran. Pada tahap pengorganisasian, Sanggar Alang Bangkeh memiliki struktur organisasi yang terdiri dari pemimpin sanggar, bendahara, sekretaris, koreografer, komposer, dan anggota. Pada tahap pergerakan meliputi managemen proyek, manajemen keuangan, respon konsumen dan masyarakat, tata kelola organisasi dan manajemen pemasaran sanggar alang bangkeh. Pada tahap pengawasan meliputi pengawasan internal dan pengawasan eksternal. Pengawasan internal melalui pendekatan yang lembut namun tegas, ia berhasil menanamkan nilai-nilai kedisiplinan dan etika berkesenian yang kuat kepada para anggota sanggar, sedangkan pengawasan eksternal melalui pwngawasan dari instansi pemerintah, komunitas seni, maupun masyarakat umum. Manajemen pemasaran yang dilakukan oleh Sanggar Alang Bangkeh adalah dengan mempertimbangkan seluruh target pemasaran, seperti masyarakat umum dan pemerintah, serta melakukan promosi melalui media sosial seperti Instagram, Facebook, dan TikTok. Selain itu, Sanggar Alang Bangkeh juga bekerja sama dengan vendor/WO serta instansi pemerintahan yang berada di Kota Padang Panjang.
Co-Authors Abdul Rahim Ade Saputra Adi Kurnia Adi Suhendra Aditya Mahendra Afdhal Afdhal Agung Dwi Putra Ahmad Teguh Santoso Akhyar Ulfa Alfahrus, Muhammad Alfredy Septoni Amelia, Ria Andina, Alya Anju Cantika Ardedi, Dodo Pratama Ardipal Ardipal Arif Kurnia Putra Arif Rahman Rafendi Arifin Bahri Arimbi Wulandari Asiska Zeriani Aulia Pratama Ricardo Aziz Azhari Bambang Parmadi Bambang Parmadi Bambang Parmadi Boy MJ Saputra Chayrunisa, Ririn Cut Mutia Dahlia Putri, Serli Dhaniel Rahmat Ameva Dodo Pratama Ardedi Donika Fitri, Refikatul Dwira Putri, Chintya Elgi Jet Forgano Esy Maestro Farras Annafi Fatra, Ahlil Febby Sentosa Febrimawati Febrimawati Ferdian, Robby Filza, Nurma Gabriella hadi, Harisnal Hengky Septiawan Hidayat, Hengki Armez Irdhan Epria Darma Putra Jagar Lumbantoruan Jeni Martha Wuri Jessya Harefa Fortuna Jimmy Ferdian M. Berli Sianggian M. Nasrul Kamal M. Yogi Riyantama Isjoni Marshella Saskia Bonita Marzam Marzam Monna Dini Angraini Nada Aulia Arva Nailathul Fadhila Nanda Okta Alhafira, Dwi Nike Oktaveroni Nova Rita Satria Obet Julpriadi Perangin Angin Oktaviani, Sari Parmadi, Bambang Prayuni Amanda Putri Puja Septiana Rabiatul Adawiyah Radhiyah Radhiyah Rahmad Kurniawan Rahmi Fajriah Ramadhan Andy Nugraha Rayhan Kurnia Rhodiya Rhodiya Rivanny Martha Leisya Rizqi, Fajar Romi Afriansah Salsabila, Ajari Sandra Syarif Santoso, Ahmad Teguh Sari, Ayuthia Mayang Sari, Nova Puspita Sekar Wangi Arasti Yasmin Sepira, Qorie Sesmita, Rima Shella Meisaliara Suhanda Suhanda Syahrel Syahrel Syaiful Hayatunnufus Syeilendra Syeilendra Sylvia Oktari Tiara Natasya Tiwi Hartati Tri Ananda Try Wahyu Purnomo Tulus Handra Kadir Uswatul Hakim Veni Apri Sopati Venny Rosalina Wahyu Novsa Rahma Dani Wahyu Prima Nelga Wembrayarli Wembrayarli Willy Atthoriq Wiranda Putri, Septia Yensharti Yona, Irma Yos Sudarman Zikri Insanillahia, Shuccy Zulhendri Zulhendri Zura, Habib Aulia