Article Per Year (5 Year)
p-Index From 2021 - 2026
7.29
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 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

Published : 101 Documents Claim Missing Document
Claim Missing Document
Check
Articles

Found 101 Documents
Search

 6   7   8   9   10 
REJUNG BEGADISAN Kurniawan, Rahmad; Wimbrayardi
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 2 No. 3 (2024): October
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ag.v2i3.136

Abstract

The purpose of creating works of art is that the artist creates new musical compositions that originate from phenomena that occur in girl culture. Rejung Begadisan's work focuses on cultivating the phenomenon of the Serawai community into sound cultivation in bringing out the atmosphere, emotions and cultural values. Creativity in the cultivation of this work uses several stages, namely: exploration, improvisation, and composition. The preparation process is carried out by applying the preparation and cultivation of elements expressed through the creativity of musical composition. In the presentation of rejung begadisan interprets moral messages such as "good when getting, sad because you have to let go" as a benchmark in the work of rejung begadisan. This artwork is in the form of a musical composition inspired by the tradition of begadisan where the artist interprets it into a form of musical composition that adopts rejung art as a musical idiom.
Analisis Bentuk (Form) Pola Ritem Penyajian Musik Sike Pada Upacara Pesta Perkawinan Kabupaten Kerinci Fatra, Ahlil; Wimbrayardi
EDUMUSIKA Vol. 1 No. 1 (2023): Volume 1 No 1 Tahun 2023
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/em.v1i1.4

Abstract

Tujuan penelitian ini adalah untuk mengetahui dan mendeskripsikan Bentuk (Form) Pola Ritem pada Upacara Pesta Perkawinan Kabupaten Kerinci. Jenis penelitian kualitatif dengan metode desktiptif analisis, objek penelitian kelompok Musik Sike ditinjau dari bentuk (Form) Pola Ritem dari penyajiannya pada upacara pesta perkawinan, pengumpulan data dengan cara studi kepustakaan, observasi, wawancara dan dokumentasi. Pengolahan data secara analisis kualitatif. Hasil penelitian menunjukkan bahwa Bentuk penyajian Sike pada upacara pesta perkawinan Kabupaten Kerinci adalah ensambel Rebana yang mengiringi lagu-lagu dalam formasi di dalam rumah lagu yang dibawakan yaitu “Assale” , persiapan melakukan arak-arakan, acara arak-arakan pengantin dan lagu yang dibawakan yaitu “Kulit Manih”, menyambut pengantin memasuki rumah lagu yang dibawakan yaitu “Malam Bainai”, penyajian hiburan di halaman rumah lagu yang dibawakan yaitu “Izin Busike”. , ucapan TerimaKasih
Pelaksanaan Kegiatan Ekstrakurikuler Band di MAN 2 Kota Padang dengan Pendekatan Literasi Plus Media Zura, Habib Aulia; Wimbrayardi, Wimbrayardi
Al-DYAS Vol 3 No 1 (2024): FEBRUARI
Publisher : Lembaga Yasin AlSys

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.58578/aldyas.v3i1.2721

Abstract

This study aims to describe the implementation of band extracurricular activities at MAN 2 Padang City. This type of research is qualitative research with descriptive methods. Data collection techniques were carried out by observation, interviews, literature study, and documentation. The data in this study used secondary data. The steps of analyzing data are collecting, describing and concluding data. Band extracurricular activities at MAN 2 Padang City with a literacy plus media approach are carried out with 3 stages, namely planning, implementation, and evaluation. band extracurricular activities at MAN 2 Padang City have become one of the extracurricular activities that can develop students' musical abilities. The planning process, practice, and strong support from coaches and coaches have contributed to the success of this extracurricular band. For the students involved, this extracurricular band has provided a lot of knowledge and experience in developing musical abilities and art activities and has provided inspiration to develop their musical abilities further.
Tinjauan Koreografi Tari Tanduak di Nagari Lubuk Tarok Kabupaten Sijunjung Dwira Putri, Chintya; Wimbrayardi, Wimbrayardi
SENDRATASIK UNP Vol 13, No 4 (2024): (in progress)
Publisher : Faculty of Languages and Arts, Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/js.v13i4.130027

Abstract

Penelitian ini bertujuan untuk menjelaskan dan mendeskripsikan Koreografi dari Tari Tanduak di nagari Lubuak Tarok Kabupaten Sijunjung.Jenis penelitian ini merupakan penelitian kualitatif dengan pendekatan deskriptif. Instrumen penelitian ini adalah peneliti itu sendiri dan didukung dengan perangkat seperti alat tulis, buku, dan handphone. Data yang digunakan dalam penelitian ini yaitu data primer dan data sekunder. Metode pengumpulan data dilakukan dengan cara studi pustaka, observasi, wawancara, dan dokumentasi. Langkah-langkah menganalisis data adalah penumpulan data, reduksi data, penyajian data, dan penarikan kesimpulan.Dari hasil penelitian diketahui bahwa tari Tanduak mempunyai aspek koreografi yang meliputi aspek isi, aspek bentuk, aspek teknis, dan aspek proyeksi.Properti yang digunakan dalam tari Tanduak ini adalah properti tanduk, payung dan Marawa. Alat musik yang digunakan adalah  gondang dan mongan. This research aims to reveal and describe the choreography of the Tanduak Dance in the Lubuak Tarok village, Sijunjung Regency. This type of research is qualitative research with descriptive methods. The instrument for this research is the researcher himself and is assisted by supporting instruments such as stationery, books, cellphones. The data in this research uses primary data and secondary data. Data collection techniques are carried out by means of literature study, observation, interviews, documentation. The steps for analyzing data are data collection, data reduction, data presentation, and drawing conclusions. The research results show that the Tanduak dance has good choreography knowledge consisting of choreographic aspects which include content aspects, form aspects, technical aspects and projection aspects. The props used in this Tanduak dance are the horns, umbrella and marawa props. The musical instruments used are gondang and mongan.
Balega Dalam Rami Farras Annafi; Wimbrayardi Wimbrayardi
Atmosfer: Jurnal Pendidikan, Bahasa, Sastra, Seni, Budaya, dan Sosial Humaniora Vol. 2 No. 4 (2024): November : Jurnal Pendidikan, Bahasa, Sastra, Seni, Budaya, dan Sosial Humanior
Publisher : Universitas Palangka Raya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59024/atmosfer.v2i4.1027

Abstract

This artwork aims to interpret the phenomenon and behavior of the community at the baralek event starting from the preparation stage to the party stage equipped with the art of saluang bagurau into a new musical composition. The process of creating this artwork is carried out with the observation (exploration), experimentation (improvisation), and forming stages. The idea of the musical work "Balega Dalam Rami" was raised from the procession of preparation for the baralek event (wedding party) in Minangkabau. Baralek as a creative idea had an impact on the emergence of the composer's imagination which was then poured into the concept of garap which became a foothold to accommodate the three parts of the procession in this work, namely Bagotong Royong, Bainai Night and Bagurau, which provided an overview of how the phenomenon and behavior and emotions of the community during the preparation process for Baralek (wedding party), to an entertainment night that focused on the phenomenon that occurred in Saluang Bagurau.
Deskriptif Proses Pembuatan Alat Musik Rabab Pasisia di Painan Timur Kabupaten Pesisir Selatan Aulia Pratama Ricardo; Wimbrayardi Wimbrayardi
Imajinasi : Jurnal Ilmu Pengetahuan, Seni, dan Teknologi Vol. 1 No. 2 (2024): Juni : 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.v1i2.127

Abstract

The process of making traditional musical instruments Rabab Pasisia in South Pesisir Regency. This study aims to describe the process of making Rabab Pasisia musical instruments. The approach used is a qualitative approach with a descriptive type of research. This research was conducted with data collection techniques used are observation, interview and documentation techniques. Data analysis techniques are carried out by reducing, presenting data and verifying this data aims to find out the structure, process, manufacturing techniques, playing techniques, from Rabab Pasisia. This musical instrument is made of jariang wood and has different tones, and uses several types of wood. The results of this study show that the parts and stages of the process of making traditional Rabab Pasisia musical instruments include: wooden mangkapatiah for Rabab bodies, sketching rabab patterns, making rabab tongues, installing rabab friction nylon, making rabab kudo-kudo, and how to produce sounds, tuning systems on traditional Rabab Pasisia musical instruments. The instruments used in the process of making traditional musical instruments Gandang Tambua include: Lantiak Knife (containing rabab tongue), Kapatiah (forming rabab body), Cutting Saw, Hammer (Stick), Measuring instrument (meter), Pencil, Sandpaper, Scissors. The ingredients are; Jariang Wood (45Cm Long, 30Cm Wide, and 4Cm Thick), Montiah Wood (Meranti), Sicerek Wood, Shell, Rope, Nails and, Wood glue. The process of making Rabab Pasisia musical instruments includes several stages, namely: 1) The process of making the body (jariang wood), until the finishing of fine and rough sanding, 2) The process of installing nylon on the rabab frictioner, 3) The process of installing squirrels, kudo-kudo, talingo and rabab strings for tuning the tone.
Manajemen Sanggar Tari Galatiak Pitameh Kota Padang Arimbi Wulandari; Wimbrayardi Wimbrayardi
Imajinasi : Jurnal Ilmu Pengetahuan, Seni, dan Teknologi Vol. 1 No. 3 (2024): September : 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.v1i3.258

Abstract

This study aims to describe the Management of Performing Arts at the Galatiak Pitameh Studio. This research is a qualitative research with a descriptive type. This research was conducted at the Galatiak Pitameh Studio in Padang City. The object of the research is the Galatiak Pitameh studio in Padang City. Data Collection Techniques with interviews, documentation and direct observation in the field. While the data analysis used in this study is an interpretation technique. The results of the research show that the management of the Galatiak Pitameh Studio has planning by making programs that will be carried out and will be implemented, with the preparation of equipment and training. Organizing has been carried out by making a line-shaped management structure. The organization also establishes the duties and authority of the management. The mobilization is carried out by providing motivation, guidance and moving towards the set goals. Internal supervision is carried out directly or indirectly, then external supervision with activity evaluation. The Galatiak Pitameh studio also has House productions consisting of dance, music, and babako. The marketing management of Sanggar Galatiak Pitameh also keeps up with the times. The Galatiak Pitameh Studio has been registered with Tourism and collaborates with Tourism. Of the two management chosen by the Galatiak Pitameh Studio, the management used shows democracy.
Dentum Karbala Ade Maulana; Wimbrayardi Wimbrayardi
Jurnal Arjuna : Publikasi Ilmu Pendidikan, Bahasa dan Matematika Vol. 3 No. 2 (2025): April : Jurnal Arjuna : Publikasi Ilmu Pendidikan, Bahasa dan Matematika
Publisher : Asosiasi Riset Ilmu Pendidikan Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.61132/arjuna.v3i2.1722

Abstract

The musical composition Dentum Karbala is inspired by the Tabut ritual procession of the Bengkulu community, held annually from the 1st to the 10th of Muharram. This tradition is a form of mourning for the martyrdom of Prophet Muhammad’s grandson, Husain bin Ali bin Abi Thalib, in the tragedy of Karbala. The composer expresses the emotional outpouring of the Bengkulu people through each stage of the Tabut ritual, translated into musical form using local musical idioms such as the rhythmic patterns of Dol and harmonic exploration with Middle Eastern nuances. The creation method involves three stages: exploration, improvisation, and the formation of the final composition. The resulting work is structured into three main sections, each representing sadness, anger, and spiritual reverence. This composition emphasizes not only musicality but also serves as a medium to convey moral messages and the cultural values of the community. It is hoped that this work will inspire arts students to explore, create, and develop traditional arts in a contextual and creative manner.
Sanggar Efaya Tradisional Dance Di Desa Perawang Kecamatan Tualang Kabupaten Siak: Tinjauan Pewarisan Tari Tepak Sirih Dahlia Putri, Serli; Wimbrayardi, Wimbrayardi
Jurnal Pendidikan Tambusai Vol. 9 No. 1 (2025)
Publisher : LPPM Universitas Pahlawan Tuanku Tambusai, Riau, Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31004/jptam.v9i1.27417

Abstract

Penelitian ini bertujuan untuk meninjau Sistem Pewarisan Tari Tepak Sirih di Sanggar Efaya Tradisional Kabupaten Siak. Langkah-langkah menganalisi data adalah reduksi data, menyajikan data dan penarikan kesimpulan. Hasil penelitian menunjukkan bahwa bentuk dari tinjauan pewarisan Tari Tepak Sirih di Desa Perawang Kecamatan Tualang Kabupaten Siak memakai Sistem Pewarisan Tertutup dan Terbuka. Pada tahun 1957 terciptanya Tari Tepak Sirih oleh Alm Johan Syarifuddin yang mana tari tersebut hanya diperkenalkan kepada Komunitas Kesenian yang anggota hanya saudara sepupuan Alm Johan saja, kemudian ia wafat di tahun 1980 dan mewariskan Tari Tepak Sirih kepada adiknya O.K Nizami Jamil. Kemudian, pada masa periode O.K Nizami Jamil pada tanggal 19 Oktober 1980 ia ditunjuk sebagai Ketua Kesenian untuk mempersiapkan kesenian dalam rangka Pembukaan Kongres Pemuda, sejak saat itu pewarisan yang awalnya menggunakan Sistem Tertutup menjadi Sitem Terbuka. Sistem pewarisan terbuka dilakukan dengan cara diajarkan secara langsung kepada masyarakat yang ingin mempelajari Tari Tepak Sirih. Seperti di Sanggar Efaya Tradisional Dance ini membuka latihan rutin untuk anak-anak bahkan orang tua yang ingin mengetahui Tari Tepak Sirih. Hal ini dilakukan agar orang yang mempelajari Tari Tepak Sirih ini benar-benar mendapatkan ilmu dan dapat bermanfaat bagi dirinya sendiri maupun orang lain. Walaupun dengan memakai sistem terbuka, dalam mempelajari Tari Tepak Sirih ini harus memenuhi beberapa syarat agar orang yang mempelajari Tari Tepak Sirih ini benar benar mendapatkan ilmu dan dapat bermanfaat bagi dirinya sendiri maupun orang lain. Dengan menggunakan sistem pewarisan terbuka ini, maka Tari Tepak tetap memiliki pewaris dan dapat dipelajari oleh siapa saja baik masyarakat di Desa Perawang maupun masyarakat diluar Desa Perawang Kecamatan Tualang Kabupaten Siak.
Eksistensi Kesenian Kuda Lumping di Desa Bandarejo Kabupaten Pasaman Barat Tiara Natasya; Wimbrayardi Wimbrayardi
Abstrak : Jurnal Kajian Ilmu seni, Media dan Desain Vol. 1 No. 5 (2024): September : Abstrak : Jurnal Kajian Ilmu seni, Media dan Desain
Publisher : Asosiasi Seni Desain dan Komunikasi Visual Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62383/abstrak.v1i5.290

Abstract

This study aims to describe the use, form of presentation and function of the Kuda Lumping art in Bandarejo Village and identify the factors that affect the existence of Kuda art and formulate efforts that can be made to maintain the existence of Kuda Lumping art in Bandarejo Village. This type of research is qualitative research with a descriptive method of analysis. The research instrument is the researcher himself and is assisted by supporting instruments such as stationery and cameras. Data were collected through literature studies, observations, interviews and documentation. The steps to analyze data are data collection, data reduction, data presentation and conclusion drawn. The results of the study show that Kuda Lumping is a Javanese traditional art that still exists in Nagari Lingkuang Aua Bandarejo, West Pasaman Regency. Until now, the art of Kuda Lumping is still performed on the commemoration of the Eid al-Fitr celebration in the area. The art of Kuda Lumping has become a necessity for the people of Nagari Lingkuang Aua Bandarejo, because from the past until now the art of Kuda Lumping is still used and performed in commemoration of big days, especially during the celebration of Eid al-Fitr and the art of Kuda Lumping is still recognized in the midst of the community, so that the existence of the art of Kuda Lumping is still maintained by the community that supports it.
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