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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 Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik 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

Wimbrayardi Wimbrayardi

Prodi Pendidikan Sendratasik, Universitas Negeri Padang

Author-ID : 2727844

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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Fungsi Musik Kalinong Dalam Kegiatan Memanen Padi Di Rantau Panjang Kelurahan Mampun Kabupaten Merangin Provinsi Jambi Romi Afriansah; Wimbrayardi Wimbrayardi
SENDRATASIK UNP Vol 11, No 1 (2022)
Publisher : FBS Universitas Negeri Padang

This study aims to determine and describe how the function of Kalinong music in rice harvesting activities in Rantau Panjang, Mampun Village, Merangin Regency, Jambi Province. This type of research is a qualitative research using descriptive analysis method. The research instrument is the researcher himself and uses several tools such as writing instruments and cellphones. Data collection techniques were carried out by means of observation, interviews, literature studies and documentation. The steps in analyzing the data are collecting data, describing the data and concluding the data. The results showed that kalinong music in rice harvesting activities had three functions, namely: (1) the function of emotional expression, (2) the function of aesthetic enjoyment and (3) the function of entertainment. In the rice harvesting activity, kalinong music is played by two women, one as vocals and the other playing kalinong. Kalinong music games are still used by the people in Rantau Panjang in traditional events and traditional activities there, such as silek/silat martial arts and rice harvesting activities accompanied by kalinong music. Kalinong music is also preserved and passed down to their children and grandchildren so that Kalinong music is not lost by the times.

EKSISTENSI KELOMPOK MUSIK GAMAT MANDAYU SANGGAR SENI PELANGI RANAH MINANG DI KOTA PADANG Jimmy Ferdian; Wimbrayardi Wimbrayardi; Irdhan Epria Darma Putra
SENDRATASIK UNP Vol 7, No 2 (2018)
Publisher : FBS Universitas Negeri Padang

Abstract This article aims to find out and describe the existence of the Gamat Mandayu Musik group Pelangi Ranah Minang Art Studio in Padang City, seen from users and functions. This research is a qualitative research with descriptive analysis method. The results showed that the gamat mandayu music group still existed with limited training grounds and lack of government attention. Lack of public attention and government increasingly eliminate the existence of gamad music in the city of Padang. For that, gamad music in Padang City still exists, the role of the City government is needed to maintain this cultural heritage. The functions found in gamat music arts are: (1) emotional disclosure function, (2) aesthetic comprehension function, (3) entertainment function, (4) communication function, (5) physical reaction function. Keywords: Existence, Gamat Mandayu, Pelangi Ranah Minang Art Studio

Bentuk Penyajian Rebana Burdah Pada Acara Perkawinan Kecamatan Lubuak Sikarah Kelurahan Tanah Garam Kota Solok Anju Cantika; Wimbrayardi Wimbrayardi
SENDRATASIK UNP Vol 9, No 4 (2020)
Publisher : FBS Universitas Negeri Padang

This study aims to identify and explain the form of Rebana Burdah presentation in a wedding ceremony in Nagari Payo, Lubuak Sikarah district, Tanah Garam village, Solok City. It includes the players, the musical instruments used, the songs presented in Rebana Burdah, the time and place of the performance, the costumes, Rebana Burdah art in the procession, and its supporting community. This is a qualitative researchusing a descriptive method. The object of research was the presentation of Rebana Burdah in NagariPayo, Lubuak Sikarah District, Tanah Garamvillage, Solok City. The data were collected through observation, interview, recording, and shooting. The data were processed by using qualitative analysis. From the data analysis, it is found that the presentation of Rebana Burdah in a wedding ceremony in Nagari Payo, Lubuak Sikarah district, Tanah Garam Village, Solok City, consists of at least four people and six people in maximum. The musical instrument used was a tambourine. The song which accompanies the tambourine is read from a bezanji with radat was made by the Rebana group at Surau Rudah. Meanwhile, the position of Rebana Burdah players in the procession is at the back and there is no rule for what costumes should be worn. Tambourine is onekind of musical instrument. Rebana Burdahuses songs from the zanji book accompanied by rebana. In Nagari Payo community, Lubuak Sikarah District, Tanah GaramVillage, Solok City, Rebana Burdahis presented in every traditional ceremony and Islamic religious holiday, and it is especially performed at wedding ceremony. Rebana Burdah is presented at a wedding ceremony and during the procession. It is presented at night while waiting for the groom at house, and it is presented in the day during the procession.

KESENIAN BATAMBUA SAMPAI AMA PADA MASYARAKAT TANJUNG ALAI KOTO MALINTANG KECAMATAN TANJUNG RAYA KABUPATEN AGAM Boy MJ Saputra; Wimbrayardi Wimbrayardi; Syahrel Syahrel
SENDRATASIK UNP Vol 2, No 1 (2013): Seri A
Publisher : FBS Universitas Negeri Padang

Absract This examine be witching to description and to know how presentation “Tambua” till discase-germ of pupil Tanjung Alai Koto Malintang a district of Tanjung Raya. The regent Of Agam. The theory that are using is curve theory and presentasion, kind of examine are qualitative with collective technich, analysis data with classification data primer and scundare. The result of examine are : 1.) all the players are men. 2.) meansof music are 13 Tambua, 1 Tassa and 1 Pupuik Batang Padi. 3.) The song that they wild play is Siaman Tagagau. 4.) The uniform that they are wearing is Galembong and destar. 5.) The place is in Tanjung Alai. 6.) The aundiences are people around Tanjung Alai Koto Malintang and all invitation. Kata kunci : bentuk, penyajian, kesenian, Ama

SENI PERTUNJUKAN TUPAI JANJANG DI NAGARI KOTO HILALANG KECAMATAN KUBUNG KABUPATEN SOLOK Nike Oktaveroni; Wimbrayardi Wimbrayardi; Marzam Marzam
SENDRATASIK UNP Vol 2, No 1 (2013): Seri C
Publisher : FBS Universitas Negeri Padang

Abstract This study aimed to describe the presence of the arts in people's lives Husks Squirrels in Nagari Koto Hilalang. This research includes the category of qualitative erese archprovides a picture of squirrelart Husks that are in Nagari Koto Hilalang Solok. Techniques of data collection is library research, observation, interviews and photo shoots. Results of this study found that the presence of art in people's lives Husks Squirrels in Nagari Koto Hilalang Lemur Solok district was recognized by all members of society who are in Nagari Koto Hilalang, it is characterized by some residents who still want art Husks squirrel comes back. Squirrels Husks art has its own uniqueness, which is to involve the audience in a way clapped together while shouting ca-ca-ka-ceh, ca-ca-ka-ceh, ca-ca-ka-ceh, ceh simultaneous ca-,which was followed by amotion of the dancers sang the following lyrics were sung. Musical instruments used in the form saluang darek, talempong Pacik, gandang, and giriang-giriang. Costumes are worn, clothes guntiang cino, sarawa predicted, songket, and girder deta kabaha bird whose head is shaped head. Theart will be on show at the plan again at the up coming August 17,2013. Keywords: traditional art, society, the existence of

Penggunaan Dan Fungsi Gamat Di Daerah Aia Manih Kota Padang Di Sanggar Gamat Kutril Jessya Harefa Fortuna; Wimbrayardi Wimbrayardi
SENDRATASIK UNP Vol 9, No 3 (2020)
Publisher : FBS Universitas Negeri Padang

Aia Manih region is one of the heirs of Gamat which is very existent in preservation. However, in recent years, Gamat is rarely used as an entertainment art for the local community. Thus, the purpose of this research is to find out the use and function of Gamatin the Aia Manih community, Padang City, in the Gamat Kutril Studio. There are several theories used in this study: the existence theory, usage theory, and function theory. This research is a qualitative research in the form of descriptive method. It gives clear explanation about the object studied. The research instrument was the researcher itself and was assisted by cameras, stationery, and interview lists. The data were analyzed through classifying primary data and secondary data then arranging them systematically. The results of this study show that there are several uses and functions of Gamat art in the AiaManih community. It is used at parties, welcoming events, inaugurations, and family gathering. There are also several functions. They functions are emotional expression, aesthetic pleasure, entertainment, communication, and physical reaction.

ANALISIS MUSIKOLOGIS LAGU DALLIDEU Sylvia Oktari; Wimbrayardi Wimbrayardi; Syeilendra Syeilendra
SENDRATASIK UNP Vol 6, No 2 (2017)
Publisher : FBS Universitas Negeri Padang

This article aimed to analyze Dallideu song from the perspective of musicology.This was a qualitative research which used content analysis approach. The theory of Analysis, theory of Elements of Music, and theory of literature were used to analyze the data. The technique of data collection was begun by doing Observation, Library Studies, Interview, Labor Work (Analyzing Process) and Documentation. The result of analysis showed that Dallideu song was a song originated from oral literature (Kunaung) of Sungaipenuh community which was recorded to crystallize the old culture in the form of a song. The creation of Dallideu coincided with the birth of Dallideu Kunaung. The Dallideu song uses the major diatonic scale C = do, has 106 bars with a 4/4 beat and has a tempo of 110. The Dallideu song belongs to the 3-part A A 'B C song with the phrases a, a', c, c ', e, e '(antecedents) and the phrases b, b', d (consequences). It consists of 15 motifs (a, b, c, d, e, f, g, h, i, j, k, l, m, n, o). There are main chords (I, IV, V) and one assist chord (VII) during its chords’ develoment. Dallideu song has one kind of kadens (the perfect authentic kadens). It consists of nine phrases (a, a ', b, b', c, c ', d, e, e'). The relationship between the rhyme and melody in Dallideu song has a syllabic and melismatic form or it concerns more neither to the rhyme (logogenic) nor to the melody (melogenic).In association with the development of melody, interval, motif and rhythm of the song, the true meaning of Dallideu song is to provide a description or information from the community to the community, resembling the values contained in the song that tell thoughts and good values for the further community life. Keywords : Musicological, Analysis, Dallideu

NILAI-NILAI PENDIDIKAN DALAM PERMAINAN ANSAMBEL RECORDER Tiwi Hartati; Wimbrayardi Wimbrayardi; Ardipal Ardipal
SENDRATASIK UNP Vol 2, No 3 (2013): Seri A
Publisher : FBS Universitas Negeri Padang

Abstract This article aims to reveal and explain the value of education in game recorder ensemble in MTsN Tanjung Raya. This research is a qualitative descriptive method. Data obtained by direct observation, interviews, library research, and documentation. Data were analyzed with phenomenological techniques. The results showed, that in the game there ensemble educational aspects and attitudes for students MTsN Tanjung Raya. With the recorder ensemble extracurricular learning, then the recorder ensemble play can produce benefits to educate the attitude and behavior of students in collaboration, compliance and obedience, responsibility, discipline, and being consistent in doing and acting.

PERUBAHAN PENYAJIAN TALEMPONG GANDANG LASUANG DI NAGARI SIKAPAK TIMUR KOTA PARIAMAN Tri Ananda; Marzam Marzam; Wimbrayardi Wimbrayardi
SENDRATASIK UNP Vol 7, No 1 (2018)
Publisher : FBS Universitas Negeri Padang

Abstract Talempong Gandang Lasuang is a traditional art in Nagari Sikapak Timur, Kota Pariaman. It is used as an entertainment in cooking activities in the kitchen to prepare for the Baralek (wedding ceremony). Nowadays, Talempong Gandang Lasuang art is no longer played in the kitchen, but it has become an art performance. In line, there are several changes in the presentation of Talempong Gandang Lasuang. These changes are seen from several aspects, including changes in the place of performance, instrument changes, and changes in musical form. This article was prepared based on the Thesis titled "Descriptive Study of the Performances of Talempong Gandang Lasuang in Nagari Sikapak Timur Kota Pariaman". The study was carried out using qualitative methods. Data was collected through literature study, observation, interviews and recording. Talempong Gandang Lasuang art experience changes in the place of performance which was originally performed in the kitchen. Now, it has been performed on the show stage. Besides that, there was also an additional in the number of instruments consisting of Gandang Tambua and Talempong Gandang Lasuang. The addition of these instruments does not affect the musical form of both the melody and rhythm in Talempong Gandang Lasuang art songs. Keywords: Talempong Gandang Lasuang, Performance, Change.

PROMOSI SENI PERTUNJUKAN RANDAI SEBAGAI IDENTITAS KESENIAN TRADISIONAL MINANGKABAU Harisnal Hadi; Wimbrayardi Wimbrayardi; M. Nasrul Kamal
Gorga : Jurnal Seni Rupa Vol 10, No 2 (2021): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v10i2.25558

The purpose of writing about the Umbuik Mudo story is to promote Minangkabau traditional arts to the general public. In the Minangkabau community, every Nagari has various groups or groups of randai arts, one of which is very well known to the Tanah Datar Regency area. The contents of the first randai contain remarks from the head of the randai, the second story tells about the randai Ramalah who left his husband, the third tells about Wahab Sutan Mudo, the fourth tells his wife Ramalah around Nagari, Legaran, the fifth tells about Wahab Sutan Mudo and his wife Finally, greets the audience before the randai started. The Randai which is played is accompanied by padendang, gandang, talempong music and is colored by galombang dance, galombang pattern of marching motion and circular galombang.Keywords: arts, traditional, randai, minangkabau, promote.AbstrakTujuan tulisan tentang cerita Umbuik Mudo guna untuk mempromosikan kesenian tradisional Minangkabau kelayak umum. Pada masyarakat Minangkabau setiap Nagari teredapat berbagai kelompok atau grup kesenian randai salah satunya yang sangat di kenal daerah Kabupaten Tanah Datar. Adapun isi randai yang pertama berisi sambutan ketua randai, kedua cerita randai Ramalah yang ditnggal pergi suaminya, ketiga bercerita tentang Wahab Sutan Mudo, keempat menceritakan istrinya Ramalah keliling Nagari, legaran, kelima menceritakan Wahab Sutan Mudo dan istrinya Terakhir memberi salam sembah terhadap penonton sebelum randai dimuali. Randai yang dimainkan diiringi padendang, gandang, musik talempong dan diwarnai tarian galombang, galombang pola gerak berbaris dan galombang melingkar. Kata Kunci: kesenian, tradisional, randai, minangkabau, promosikan. Authors:Harisnal Hadi : Universitas Negeri PadangWimbrayardi : Universitas Negeri PadangM. Nasrul Kamal : Universitas Negeri PadangReferences:Bakker, A. B. (2011). An Evidence-Based Model of Work Engagement. Current Directions In Psychological Science, 20(4), 265-269. 10.1177/0963721411414534.Edward Burnett Tylor. (1871). Primitive Culture: Researches Into the Developmen of Mythology, Philosophy, Religion, Art, anf Cumtom. New York: Henry Holt Erlangga.Endri, Syaiful. (2015). “Randai Umbuik Mudo”. Hasil Wawancara Pribadi: 8 November 2015, Sumatera Barat.Esten, Mursal. (1983). Randai dan Beberapa Permasalahannya, dalam Edi Sedyawati & Sapardi Djoko Damono (eds.), Seni Dalam Masyarakat Indonesia: Bunga Rampai. Jakarta: PT Gramedia.Harymawan, R. M. A. (1988). Dramaturgi. Bandung: PT Remaja Rosda Karya.Hadi, Harisnal. (2020). “Musik Opening Randai Umbuik Mudo”. Hasil Dokumentasi Pribadi: 16 Mei 2020, Taman Budaya Sumatera Barat.Idrus Hakimi Datuak Rajo Penghulu. (1995). Pegangan Penghulu, Bundo Kanduang, Dan Pidato Alua Pasambahan Adat Di Minangkabau. Bandung: CV Remaja Karya.Kasmir. (2008). Manajemen Perbankan, Edisi Revisi Delapan. Jakarta: Raja Grafindo.Kotler, Philip, dan Gary Armstrong. (2001). Prinsip- Prinsip Pemasaran Edisi ke VIII Jilid 8. Jakarta: Penerbit Erlangga.Koentjaraningrat. (2003). Ilmu Budaya Dasar. Jakatra: Pustaka Pelajar.Kuswarno, Engkus. (2009). Fenomenologi (Fenomena Pengemis Kota Bandung). Bandung: Widya.Littlejohn, Foss. (2011). Teori Komunikasi. Jakarta: Salemba Humanika.Vredenbregt, Jacob. (1984). Metode dan Teknik Penelitian Masyarakat. Jakarta: PT Gramedia.Wimbrayardi, W. (2019). "Tim Padendang Randai Umbuik Mudo". Hasil Dokumentasi Pribadi: 18 Mei 2019, Taman Budaya Sumatra Barat.

Co-Authors Abdul Rahim Ade Maulana Ade Saputra Adi Kurnia Adi Suhendra Aditya Mahendra Afdhal Afdhal Agung Dwi Putra Ahmad Teguh Santoso Akhyar Ulfa Alfahrus, Muhammad Alfredy Septoni Amelia, Ria 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 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 Marzam Marzam Monna Dini Angraini 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 Sandra Syarif Santoso, Ahmad Teguh Sari, Ayuthia Mayang 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 Prima Nelga Wembrayarli Wembrayarli Willy Atthoriq Wiranda Putri, Septia Yensharti Yona, Irma Yos Sudarman Zikri Insanillahia, Shuccy Zulhendri Zulhendri Zura, Habib Aulia

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