Article Per Year (5 Year)
p-Index From 2021 - 2026
6.133
P-Index
This Author published in this journals
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
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

Published : 94 Documents Claim Missing Document
Claim Missing Document
Check
Articles

Found 94 Documents
Search

 5   6   7   8   9 
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.
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.
Innovating the Piriang Diateh Karambia Dance as a Cultural Tourism Asset in the Solok City Wimbrayardi Wimbrayardi; Irdhan Epria Darma Putra; Venny Rosalina
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.v7i2.52665

Abstract

The potential of local culture, namely Piriang Diateh Karambia Dance in tourism development, is part of a product of human creativity that has economic value. This innovative goal is to analyze local culture as a cultural tourism attraction in Solok City which is packaged in the form of performances. Piriang Diateh Karambia dance is in the tourist bag in Solok City. This service method used is qualitative analysis through direct observation and indepth interviews with related parties. To analyze the potential and problems in the local culture of Piariang Diateh Karambia Dance as a cultural tourism attraction at the location where Piriang Diateh Krambia Dance grows including internal and external potential and problems. Local culture of Piriang Diateh Karambia Dance, especially in Solok City in general, has unique potential and art product centers need to be innovative as a means of performing arts that can increase cultural tourism. Innovative strategies as an increase in the local culture of Piariang Diateh Karambia Dance will attract tourists who come to the cultural bag in Solok City. Innovative local culture of Piriang Diateh Karambia Dance in Solok City, made into attractive packaging as a performing art to come to Solok City. Besides being presented as a performing art that will stimulate community economic growth through UMKM in natural tourism pockets in Solok City.
Analisis Hubungan Melodi Dendang dan Sarunai pada Arak-arakan Babako di Kuranji Rayhan Kurnia; Wimbrayardi Wimbrayardi
SENDRATASIK UNP Vol 13, No 1 (2024)
Publisher : Faculty of Languages and Arts, Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/js.v13i1.127221

Abstract

This study aims to find the relationship between dendang and sarunai in the procession of babako in Kuranji. The purpose of this study is to find the relationship between dendang and sarunai in the procession of babako in Kuranji. The benefits obtained in this study is to add insight to the researchers themselves, in addition to the results of this study can be used as material for appreciation of folk music in the educational environment or society. And as a source of information and documentation in the field of government about the change and sustainability of local culture, and for the motivation of Tourism Development in the field of traditional arts that can be performed for tourists.The results of the study relationship between dendang and sarunai very tied to the performance of talempong pacik. In the song / Dendang Racun Dunia, Baburu Babi and Singgalang apparently dendang only follow the form of the show that exists in sarunai and rhythmic patterns that exist in the form of performance tasa, tambua, talempong. Dendang and sarunai only contribute to the content of the performance dendang and sarunai not dendang and sarunai apart from the tempo in the rhythm show but still tied and dendang do not have to follow the performance in tasa, tambua, talempong.
Bentuk Lagu Siontong Tabang Pada Ensambel Gandang Tasa Di Nagari Sunua Kurai Taji Pariaman M. Berli Sianggian; Tulus Handra Kadir; Wimbrayardi Wimbrayardi; Uswatul Hakim
Lencana: Jurnal Inovasi Ilmu Pendidikan Vol. 2 No. 4 (2024): Oktober : Lencana: Jurnal Inovasi Ilmu Pendidikan
Publisher : Pusat Riset dan Inovasi Nasional

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55606/lencana.v2i4.4059

Abstract

This research aims to describe the form of the Siontong Tabang song in the Gandang Tasa ensemble in Nagari Sunua Kurai Taji Pariaman. This study uses a descriptive qualitative method with the researcher as the main instrument, assisted by writing tools and a camera. Data were collected through literature study, observation, interviews, and documentation, with data analysis carried out through the steps of data collection, description, and conclusion drawing. The results show that Gandang Tasa is a traditional art from Pariaman, performed by an ensemble consisting of 6 to 7 players, including 6 Gandang players and 1 Tasa player. Gandang Tasa is usually performed at certain events, especially in the Tabuik ritual, to boost the spirit and solemnity of the community. The songs commonly performed in the Tabuik ritual include Oyak Tabuik, Sosoh, and Katidiang Sompong. The Siontong Tabang song plays an important role as pangka maatam in the Tabuik procession, with a short repetitive rhythmic pattern starting with Tasa playing. In the modern era, Gandang Tasa is no longer limited to traditional or ritual processes but also serves as entertainment and a means of cultural preservation for the people of Pariaman and its surroundings.
Analisis Tokoh Utama Dalam Naskah Randai Santan Batapi Sanggar Bungo Satangkai Afdhal Afdhal; Wimbrayardi Wimbrayardi
Jurnal Kajian dan Penelitian Umum Vol. 2 No. 4 (2024): Agustus : Jurnal Kajian dan Penelitian Umum
Publisher : Institut Nalanda

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.47861/jkpu-nalanda.v2i4.1243

Abstract

This research aims to reveal and describe the system and way of action and reaction of the main characters in the Randai Santan Batapi Sanggar Bungo Satangkai Manuscript. The type of research in this study is qualitative research with a descriptive analysis approach that aims to describe how the characters and actions of the characters in Randai Santan Batapi. The motorcycle taxi of this research is the Randai Santan Batapi Group of the Bungo Satangkai Studio. Supporting instruments are in the form of documentation results from recording tools, field data in the form of observation results, and interviews, and photo cameras. The results of the study describe that in the story of Randai Santan Batapi there is XIV Legaran story. From the journey of the Santan Batapi story, there are 6 stages starting from Exposition, Generating Circumstance, Rising Action, Climax, Denounment, and Cate Strophe. From the stages of the plot, we can find the characters in the story of Santan Batapi, Santan Batapi who has the character of a beautiful girl who has a sweet mouth and is full of sadness, Anggun Nan Tungga with a dashing and authoritative character, and Nan Domi Sutan with a wise and intelligent girl character. The characters from Randai Santan Batapi are able to perform actions and reactions in accordance with theater science in acting, even though the characters have never studied theater science in acting.
Plywood Gandang Tambua Tuning System Puja Septiana; Wimbrayardi
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 2 No. 2 (2024): June
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ag.v2i2.43

Abstract

The process of making traditional musical instrument Gandang Tambua in Padang Pariaman Regency. This study aims to describe the process of making Gandang Tambua musical instruments. The approach used is a qualitative approach with descriptive research. This research was conducted with data collection techniques used were observation, interview and documentation techniques. The data analysis technique is done by reducing, presenting data and verifying this data aims to find out the structure, process, manufacturing techniques, playing techniques, of Gandang Tambua. This musical instrument is made of plywood and has holes (resonators), and uses goat skin. The results of this study indicate that the parts and stages of the process of making traditional musical instruments Gandang Tambua include: cutting plywood for the body of Gandang Tambua, processing goatskin (membrane), cleaning rattan, making iron battens, and how to produce sound, tuning system on traditional musical instruments Gandang Tambua. The tools used in the process of making traditional Gandang Tambua musical instruments include: Cater knife (plywood cutter), Cutting Saw, Hammer (Smoker), Measuring tool (meter), Pencil, Sandpaper, Screwdriver, Scissors, Bamboo type chamfer, Clamp. The materials are; Wooden battens (circle 40), plywood, goatskin, iron battens, rope, nails and, wood glue. The process of making Gandang Tambua musical instruments includes several stages, namely: 1) The process of making the body (plywood), until finishing fine and coarse sanding, 2) Leather processing, including shearing the skin using dry fuel ash and measuring the diameter width, 3) The installation process, including the skin to the Tambua drum body, install the iron batten and install the rope for tuning.
Forms of Hadrah Art Presentation in the Procession of Wedding Party in Dusun Sawah Village Shella Meisaliara; Wimbrayardi
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 1 No. 3 (2023): October
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ag.v1i3.47

Abstract

This study aims to find and describe the form of presentation of the Hadrah Parade art in Dusun Sawah Village using a qualitative research method with a descriptive analysis approach.  To collect data the researchers conducted observations, interviews, and documentation.  The object of this research is the Hadrah Art of the Procession and this research shows how the form of the presentation of the Hadrah art in the procession of the procession in Dusun Sawah Village is displayed at weddings.  In the wedding ceremony, it was found that in terms of the art form, the Hadrah procession used a tambourine as a musical instrument and the lyrics used came from the Al-Barzanji book entitled Sidal Habi, Salabat Laila and Ya Rasulullah while the presentation of Hadrah Art was usually shown at 08.00  WIB, in the afternoon after the midday prayer at 13.00 WIB or in the afternoon at 16.00 WIB and played by 15-35 people.  Hadrah art is entertainment for the people in Dusun Sawah Village and establishes a closer sense of kinship between communities.
The Role of Cadiak Tau Pandai in Randai Hiliran Gumanti District Solok Regency Wiranda Putri, Septia; Wimbrayardi
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 1 No. 3 (2023): October
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ag.v1i3.48

Abstract

Cadiak Tau Pandai's role in Randai, Hiliran Gumanti District, and Solok Regency This study set out to identify the function of cadiak tau pandai in randai in the Hiliran Gumanti District of the Solok Regency. An approach known as the descriptive-qualitative one was used to perform this study. Through a review of the literature, observation, interviews, and documentation, data for this study was gathered. Reduction, presentation, and verification are the steps in data analysis. Finding out the components of randai and Cadiak Tau Pandai's function in randai in the Hiliran Gumanti District, Solok Regency, is the goal of this data verification. The outcomes demonstrated the role played by Cadiak Tau Pandai in Randai in the Solok Regency's Hiliran Gumanti District. This cadiak tau pandai serves as a stand-in for all male positions. These roles are filled by regular individuals, not by the offspring of officials. Additionally, the actors in this role are passed down from generation to generation. It takes one to four weeks, or a month, for them to rehearse. They are known as multipurpose characters. They can not only be characters in the Randai story but also drummers, comedians, and MC.
Form of Accompaniment Music for H.B.T. Lion Dance Group in Padang City Zikri Insanillahia, Shuccy; Wimbrayardi
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 1 No. 3 (2023): October
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ag.v1i3.54

Abstract

This investigation tries to identify the kind of Lion Dance music composition used by the H.B.T. Group in Padang. This kind of research uses content analysis techniques and is qualitative. The researcher is the primary research tool, with aid from other tools like office supplies and cell phones. Observations, interviews, documentation, and literature studies are all used as data collecting approaches. Data analysis involves gathering data, describing data, and drawing conclusions from data. The findings demonstrated that the beat pattern of the lion dance music game is distinct.  11 different repertoires of percussion-based lion dance music exist. However, when all of the repertoires are combined, there are parallels that make lion dance music look like a cohesive whole. This occurs as a result of some repertoires using the same punch motive. Basically, a motif is the combining of multiple notes to produce a specific punch pattern. This makes it necessary to conduct a more thorough analysis of each lion dance music repertoire in order to identify the primary themes and themes that are frequently employed in lion dance performances. It turns out that the 1/8 note motif, which exploits the pace of the lion dance playing style on the 1/16 note, is the most prevalent rhythm pattern motif among the 11 that are performed. Only the voyage of those lion dance types is used in the 1/8 note. In a way, the lion dance's speed is represented by the note 1/16.
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