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All Journal TELKOMNIKA (Telecommunication Computing Electronics and Control) Harmonia: Journal of Research and Education Panggung Sorai: Jurnal Pengkajian dan Penciptaan Musik Dewa Ruci : Jurnal Pengkajian dan Penciptaan Seni Gelar : Jurnal Seni Budaya International Journal of Visual and Performing Arts Jurnal Kajian Seni Jurnal Penelitian Musik Jurnal Penelitian Musik Harmonia: Journal of Arts Research and Education
Aton Rustandi Mulyana
Institut Seni Indonesia Surakarta
Arts Humanities Computer Science & IT Education Languange, Linguistic, Communication & Media Social Sciences Other

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DIMENSI RAME: GEJALA, BENTUK, DAN CIRI Mulyana, Aton Rustandi; Haryono, Timbul; Simatupang, G.R. Lono Lastoro
Harmonia: Journal of Arts Research and Education Vol 12, No 1 (2012)
Publisher : Department of Drama, Dance, and Musik (Sendratasik), Semarang State University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v12i1.2218

Abstract

Umumnya rame dianggap sebagai hal wajar, biasa, dan lumrah. Namun di balik itu, rame adalah sebuah kebutuhan hidup. Rame justru sengaja dibentuk untuk mengisi ruang-ruang hidup yang kosong, sepi, atau nirmakna.  Kehadiran rame sendiri di(ter-) kondisikan, tidak pernah hadir tanpa sebab atau aksi. Sebaliknya, kehadirannya selalu ada di dalam hubungan peristiwa antara apa yang menjadi sebab dan apa akibatnya, atau apa aksinya dan apa reaksinya. Tulisan ini membahas  dimensi rame berdasarkan atas gejala, bentuk, dan ciri-cirinya. Secara gejala, rame berbeda dengan noise, di dalam upacara justru ini disengaja untuk mempertebal lapis simbolis, ritus, agama sekaligus sosialnya. Bentuknya selalu dapat dialami dengan indera, dapat dilihat, didengar, dihirup, dicecap, disentuh/diraba, atau dirasakan. In general rame is considered a commonplace thing. Yet, beyond all this, rame is a life necessity. Rame is indeed created to fill up vacant, lonely, or meaningless living spaces. Rame is always present by some causes or actions. In other words, it is present because of cause and effect relationship, or action and reaction process. This article discusses the dimension of rame based on phenomena, form, and its characteristics. Phenomenologically, rame is different from noise, because in ceremonies rame functions to solidify symbolic, ritual, religious, and social layers. The form could always be experienced by senses it is perceivable, smellable, tasteable, and touchable.
DIMENSI RAME: GEJALA, BENTUK, DAN CIRI Mulyana, Aton Rustandi; Haryono, Timbul; Simatupang, G.R. Lono Lastoro
Harmonia: Journal of Arts Research and Education Vol 12, No 1 (2012)
Publisher : Department of Drama, Dance and Music, FBS, Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v12i1.2218

Abstract

Umumnya rame dianggap sebagai hal wajar, biasa, dan lumrah. Namun di balik itu, rame adalah sebuah kebutuhan hidup. Rame justru sengaja dibentuk untuk mengisi ruang-ruang hidup yang kosong, sepi, atau nirmakna.  Kehadiran rame sendiri di(ter-) kondisikan, tidak pernah hadir tanpa sebab atau aksi. Sebaliknya, kehadirannya selalu ada di dalam hubungan peristiwa antara apa yang menjadi sebab dan apa akibatnya, atau apa aksinya dan apa reaksinya. Tulisan ini membahas  dimensi rame berdasarkan atas gejala, bentuk, dan ciri-cirinya. Secara gejala, rame berbeda dengan noise, di dalam upacara justru ini disengaja untuk mempertebal lapis simbolis, ritus, agama sekaligus sosialnya. Bentuknya selalu dapat dialami dengan indera, dapat dilihat, didengar, dihirup, dicecap, disentuh/diraba, atau dirasakan. In general rame is considered a commonplace thing. Yet, beyond all this, rame is a life necessity. Rame is indeed created to fill up vacant, lonely, or meaningless living spaces. Rame is always present by some causes or actions. In other words, it is present because of cause and effect relationship, or action and reaction process. This article discusses the dimension of rame based on phenomena, form, and its characteristics. Phenomenologically, rame is different from noise, because in ceremonies rame functions to solidify symbolic, ritual, religious, and social layers. The form could always be experienced by senses it is perceivable, smellable, tasteable, and touchable.
Natural Automatic Musical Note Player using Time-Frequency Analysis on Human Play Khafiizh Hastuti; Arry Maulana Syarif; Ahmad Zainul Fanani; Aton Rustandi Mulyana
TELKOMNIKA (Telecommunication Computing Electronics and Control) Vol 17, No 1: February 2019
Publisher : Universitas Ahmad Dahlan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.12928/telkomnika.v17i1.11606

Abstract

This research aims to develop an automatic gamelan musical note player that can naturally play musical note as human does. A musician estimates time to hit an instrument button in an approximate time which is as close as to the target time. The tolerated time to play a note was identified based on the human play. A gamelan musician was selected to play five note sequences of songs, and the play was recorded to be analyzed. Execution time in hitting instrument buttons in human play was identified using time-frequency analysis and peak detection to define time range which can be tolerated as time value that not too fast or not too late in hitting buttons, and then the result of the analysis was used as parameters to randomize approximate time to play a note. The evaluation shows that the program played all note sequences in the approximate time as human does and the program played more natural and better than another program which played a note as exact as its time target.
Nunggak semi Al Suwardi: organology and perspective of harmonic planet music creation Aton Rustandi Mulyana; Joko Suranto
International Journal of Visual and Performing Arts Vol 3, No 1 (2021)
Publisher : ASSOCIATION FOR SCIENTIFIC COMPUTING ELECTRICAL AND ENGINEERING (ASCEE)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31763/viperarts.v3i1.203

Abstract

This article examines the artistry of a composer named Aloysius Suwardi. This composer, who grew up in the Javanese gamelan music tradition, has produced musical compositions and created musical instruments as a means/medium to express it on the journey of his creativity. His works have been staged in various forums or world music festivals. The musical instruments he has created fill the laboratory spaces to create his musical compositions. Two musical ensembles that have been created are Gamelan Genta and Gamelan Planet Harmonic. These two musical instruments complement the many personal musical instruments he has created, such as the vibrander, tering, gerendang, and other musical instruments. Regarding the two ensembles, this article examines the aspects of the creation process. For example, how did Al Suwardi choose the materials used, how to make them, to how he determined the barrel system for these tools. In terms of compositing, this article examines how Al Suwardi started his work, his models of creation, and how he composes his works until they are declared final. The gragas and dridis creeds and Nunggak Semi's concept are the main topics in this composition creation model. Both creeds and concepts have ushered in the landscape of making Al Suwardi's musical compositions expand, from the gamelan tradition to more contemporary models of music creation
Interaksi musikal dalam pertunjukan Kesenian Topeng Betawi Dani Yanuar; Aton Rustandi Mulyana
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 14, No 1 (2019)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (362.317 KB) | DOI: 10.33153/dewaruci.v14i1.2532

Abstract

Penelitian ini membahas mengenai interaksi musikal dalam pertunjukan kesenian Topeng Betawi. Fokus permasalahan menitikberatkan tentang bagaimana jalinan interaksi musikal yang terjadi di antara para pemain musik dalam sajian gending pokok pertujukan kesenian Topeng Betawi. Metode yang digunakan dalam penelitian ini adalah deskriptif analisis yakni metode dengan cara menggambarkan atau melukiskan objek yang dikaji berdasarkan data-data yang diperoleh, yang kemudian dilakukan analisis terhadap data tersebut. Penelitian ini menerapkan teori interaksi musikal yang dirumuskan oleh Benjamin Brinner. Teknik pengumpulan data diperoleh melalui studi lapangan, perekaman audio-visual, dan studi pustaka. Hasil analisis dari penelitian ini dapat disimpulkan (1) Pemain rebab sebagai pimpinan yang memiliki kewajiban untuk mengkoordinasi jalannya pertunjukan. (2) Tata letak instrumen musik dari masing-masing penyaji didasarkan atas pertimbangan kelancaran pesan musikal. (3) Pesan musikal merupakan tanda yang kemudian mendapat respon dari pemain musik yang lain. (4) Struktur gending dipengaruhi jenis irama yang dimainkan. (5) Respon musikal merupakan wujud dari motivasi masing-masing pemain musik. ABSTRACTThis study discusses the musical interaction in Topeng Betawi art performances. The focus of the problem focuses on how the fabric of musical interaction that occurs between the musicians in the musical staple grain Performace Topeng Betawi arts. The method used in this research is a descriptive analysis of the methods by describing or depicting an object under study based on the data obtained, which then conducted an analysis of the data. This research applies the theory of musical interaction formulated by Benjamin Brinner. Data collection techniques gained through fieldworks, audio-visual recording, and literature. Analytical results from this study can be concluded (1) Player fiddle as a leader who has the obligation to coordinate the course of the show. (2) The layout of musical instruments from each presenter is based on the consideration of the smoothness of the musical message. (3) Book musicals is a sign that later received a response from the other music players. (4) The structure of the musical influenced the type of rhythm being played. (5) Response musical is a form of motivation for each music player.
MUSIK VOKAL ETNIK MINAHASA BUDAYA TRADISI DAN POPULER BARAT Alrik Lapian; Aton Rustandi Mulyana
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 12, No 2 (2017)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (320.017 KB) | DOI: 10.33153/dewaruci.v12i2.2529

Abstract

AbstrakPerkembangan musik vokal di Minahasa memperlihatkan pengaruh budaya Barat yang kuat. Musik-musik tradisi Minahasa khususnya lagu beserta gaya-gaya tradisinya bercampur dengan pola-pola musik populer Barat, dari bentuk lagu hingga alat musik yang digunakan mengacu pada musik populer. Musik vokal etnik Minahasa dengan berbagai elemen musiknya hampir hilang wujudnya dalam perpaduan tersebut. Oleh sebab itu dengan pendekatan budayadan konsep-konsep musik vokal etnik Minahasa, tulisan ini menunjukkan ciri khas budaya Minahasa dan praktek bernyanyi etnik Minahasa pada musik tradisi dan musi populer Barat.Kata Kunci: Budaya, Musik, Minahasa, Populer.
Internalisasi dimensi interkultural permainan gendang dalam komunitas Dangdut Koplo: Sebuah kajian konstruksi sosial Denis Setiaji; Aton Rustandi Mulyana
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 14, No 1 (2019)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (544.979 KB) | DOI: 10.33153/dewaruci.v14i1.2533

Abstract

Penelitian ini difokuskan untuk melihat proses terkonstruksinya dimensi interkultural pada pola permainan gendang terhadap pelaku dan para pecinta Dangdut Koplo. Pendekatan yang digunakan mengadopsi dari Ilmu Sosial yakni teori konstruksi sosial Peter L. Berger yang terdiri dari eksternalisasi, objektivasi, dan internalisasi. Penelitian yang dilakukan menggunakan metode fenomenologi dengan melakukan studi lapangan ke sejumlah wilayah pertunjukan Dangdut Koplo di Solo Raya terutama Taman Hiburan Rakyat (THR) Sriwedari dengan objek kelompok musik Areva sebagai bahan studi kasus. Proses konstruksi sosial masyarakat Dangdut Koplo dideskripsikan melalui analisis pada transkrip pola-pola gendang dan dampak musikalnya. Tahap eksternalisasi melibatkan konsep dan kreativitas Areva dalam menghasilkan serta mengembangkan dimensi interkultural pada pola permainan gendang. Kreativitas dalam bentuk pola-pola gendang bermuatan proses interkultural dihadirkan dengan melibatkan interaksi intersubjek sehingga menghasilkan produk interaktif berupa senggakan dan gerak-gerak komunitas joged pada proses objektivasi. Media pentas dan konser menjadi proses sosialisasi yang membuat masyarakat dari satu kolektif ke kolektif lain, melihat Areva Musik sebagai manifestasi dari Dangdut Koplo, pada tahap internalisasi. ABSTRACTThis research focused on the construction process of the intercultural dimension of the drums pattern among Dangdut Koplo’s society. The approach used to adopt from the social sciences, that was social construction theory from Peter l. Berger consist of externalization, internalization, and objectivation. Research conducted using the method of Phenomenology by doing fieldwork to several areas performing Live of Dangdut Koplo in Solo and surroundings especially on Taman Hiburan Rakyat (THR) Sriwedari with Areva Music group as a case study. The process of the social construction of society Dangdut Koplo described through analysis on transcripts of drum patterns and the impact of its. Externalization stage involves the concept of creativity from Areva Music in generating and developing intercultural dimension on the drum pattern of the gendang’s player. Creativity in the form of many drum patterns featured an intercultural process involving the subject to subject interaction to produce interactive products in the form of senggakan and some motion from joged’s community on the process of objectivation. The medium of performances and concerts into a process of socialization that make communities from one another, the collective to collective see that Areva Music group as a manifestation of Dangdut Koplo, at the process of internalization.
ESENSI DAN NILAI SENI POSTER PAGELARAN WAYANG KULIT KARYA GESTISUTIS Ryan Sheehan Nababan; G., Guntur; Aton Rustandi Mulyana; D., Dharsono
Gelar : Jurnal Seni Budaya Vol 14, No 1 (2016)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (931.365 KB) | DOI: 10.33153/glr.v14i1.1745

Abstract

Poster tidak hanya sebagai media publikasi acara maupun media kampanye. Poster dapat menjadi mediaekspresi estetis yang mencitrakan pengalaman dan ideologi seniman. Poster Pagelaran Wayang Kulit merupakansalah satu bentuk poster yang diciptakan atas dasar persepsi, pengalaman estetis, serta ideologi dari kelompokGestiSutis. Masalah yang dikaji dalam penelitian ini adalah bagaimana latar belakang pengalaman, ragambentuk visual poster, serta esensi dan nilai dari pengalaman GestiSutis dalam karya-karya posternya. Penelitianini menggunakan pendekatan fenomenologi dengan menggunakan analisis fenomenologi persepsi dari Merleau-­Ponty. Hasil menunjukkan bahwa: pertama, dalam pembentukan persepsi dan pengalamannya terhadap duniaseni tradisi pertunjukan wayang kulit dan dunia seni poster, GestiSutis dipengaruhi oleh faktor historisitas dantemporalitas. Kedua, ragam bentuk Poster Pagelaran Wayang Kulit disusun oleh GestiSutis atas dasar prosespersepsinya yang kreatif, yaitu imajinasi, ekspresi, gaya visual, dan bahasa visual. Ketiga, GestiSutis memilikipengalaman estetis terhadap dunia pewayangan dan dunia poster. Dalam kontruksi nilai, GestiSutis memaknaiPoster Pagelaran Wayang Kulit sebagai kualitas ekspresi estetis, kualitas dokumentasi dan informasi budaya,kualitas edukasi, dan kualitas artist merchandise.Kata kunci: seni poster, wayang kulit, fenomenologi persepsi, Merleau-Ponty.
AZAS LUDIC DALAM KERAMAIAN BUNYI RITUS NGAROT Aton Rustandi Mulyana
Gelar : Jurnal Seni Budaya Vol 9, No 2 (2011)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2048.27 KB) | DOI: 10.33153/glr.v9i2.1391

Abstract

This paper questions the relationship between sound crowd and the principle of ludic that is present in a rite Ngarot, one of a series of rites farmers in Lelea Indramayu, West Java. Based on Homo Ludens by Johan Huizinga’thoughts and supported by its liminality by Victor Turner. many ludic nature shown through its playing principles, that is free, temporary, closed, tense, but at the same order. The nature of liminality is revealed through the presence of a celebrated rite ngarot sometime before the growing season in the early half of the rainy season, as well as celebrations carried on the threshold between the two events daily, or between an unusual event with a regular event. Key words : sound, ritual, ngarot, ludic, liminality.
LUDICITAS PADA FILM DOKUMENTER “DI BALIK FREKUENSI Dwi Putri Nugrahaning Widhi; Aton Rustandi Mulyana
Gelar : Jurnal Seni Budaya Vol 14, No 2 (2016)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (579.017 KB) | DOI: 10.33153/glr.v14i2.2076

Abstract

Tulisan ini mempertanyakan persoalan realitas ludic film dokumenter “Di Balik Frekuensi”. Film dokumenter dipercaya akan penghadirannya kebenarannya di hadapan publik, tetapi di balik penghadirannya tersebut sebenarnya terdapat realitas ludic yang disungguhkan oleh pembuat film. Film “Di Balik Frekuensi” terdapat rangkaian realitas yang diciptakan oleh pembuat film melalui dua unsur audio dan visual, di antaranya narasi, ilustrasi musik, sound effect, teks, iklan, slow motion dan fast motion, motion graphic, stock shot dan footage, kemiringan kamera, lensa fish eye, multiple frame, dan epilog. Ludic dalam film “Di Balik Frekuensi” dipaparkan dalam lima asas yaitu kebebasan, sementara, tertutup, ketertiban dan ketegangan. Pendekatan tafsir digunakan untuk mendukung teori ludic dan teori realitas, sehingga diperoleh makna penghadiran ludic yang disampaikan dalam film “Di Balik Frekuensi”. Rangkaian realitas yang dihadirkan tidak lepas dari ideologi pembuatnya. Terselip pesan-pesan khusus dengan rangkaian makna pesan yang disampaikan secara persuasifdan tendensius.Kata kunci: film dokumenter, realitas, ludicThis writing asks about the reality of ludic in documentary film “Di Balik Frekuensi”. Documentary film is believed to be true according to public but behind its presence there is actually a ludic reality presented by the film maker. There is a series of reality created by the film maker through audio and visual elements among other things are narration, music illustration, sound effect, text, advertising, slow motion and fast motion, motion graphic, stock shot and footage, camera tilt, fish eye lens, multiple frame, and epilog. Ludic in film “DiBalik Frekuensi”is presented in five principles covering freedom, temporary, closed, discipline, and tension. Interpretative approach is used along with the theories of ludic and reality so that the meaning of the presentedludic in film “Di Balik Frekuensi” can be found. The series of realities presented in the film are not out of the maker’s ideology. The film contains special messages with the meaning revealed persuasively and tendentiously.Keywords: documentary film, reality, ludic.
Co-Authors Ahmad Zainul Fanani Alrik Lapian Anbie Haldini Muhammad Ansari, Isa Arry Maulana Syarif Asep Zery Kusmaya D., Dharsono Dani Yanuar Denis Setiaji Dika Dzikriawan Dwi Putri Nugrahaning Widhi Dyah Fitriasari, Rr. Paramitha Dzikriawan, Dika Enggar Febriyanti , Monalisa G., Guntur G.R. Lono Lastoro Simatupang G.R. Lono Lastoro Simatupang G.R. Lono Lastoro Simatupang Gunawan, Agim Joko Suranto Khafiizh Hastuti Kiswanto Kiswanto Kusmaya, Asep Zery Nababan, Ryan Sheehan Novianto, Wahyu Renaldi Lestianto Utomo Putro Rosidy, Tony Anwar Saka, Putri Ananda Setianjaya, Iwan Setyatama, Agung Simatupang, Gabriel Roosmargo Lono Lastoro Sopandu Manurung St. Sunardi Sulastuti, Katarina Indah Sunardi Sunardi Suseno, Dava Widyanti Timbul Haryono Tony Anwar Rosidy Tri Ananda Wiwik Sushartami Wiwik Sushartami Yayi Suryo Prabandari Yayi Suryo Prabandari