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All Journal Imaji: Jurnal Seni dan Pendidikan Seni Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) PROMUSIKA: Jurnal Pengkajian, Penyajian, dan Penciptaan Musik Harmonia: Journal of Research and Education Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni JSM (Jurnal Seni Musik) Tonika: Jurnal Penelitian dan Pengkajian Seni Virtuoso: Jurnal Pengkajian dan Penciptaan Musik Repertoar Journal Jurnal Penelitian Musik Journal of Community Empowerment Prosiding Seminar Nasional Pascasarjana Proceeding of International Conference on Science, Education, and Technology Jurnal Penelitian Musik Jurnal Bina Desa (JSM) Jurnal Seni Musik Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik
Irfanda Rizki Harmono Sejati
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Komponen Pembelajaran Musik di Sekolah Imamat Rajani Gereja Bethany Salatiga Theodorik, Victor; Sejati, Irfanda Rizki Harmono
Tonika: Jurnal Penelitian dan Pengkajian Seni Vol. 7 No. 1 (2024): Volume 7 Nomor 1 Tahun 2024
Publisher : Sekolah Tinggi Teologi Abdiel

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.37368/tonika.v7i1.588

Abstract

Gereja Bethany Salatiga merupakan salah satu gereja Kristen yang terletak di Kota Salatiga. Gereja ini memiliki program pembelajaran yang bernama Sekolah Imamat Rajani yang dinaungi Departemen Profetik. Tujuan penelitian ini adalah untuk mengetahui dan mendeskripsikan komponen pembelajaran musik di Sekolah Imamat Rajani Gereja Bethany Salatiga. Metode penelitian yang digunakan adalah metode penelitian kualitatif. Pendekatan yang digunakan dalam penelitian ini adalah pendidikan. Teknik pengumpulan data yang digunakan adalah observasi, wawancara, dan dokumentasi. Teknik keabsahan data yang digunakan adalah triangulasi sumber. Teknik analisis data meliputi reduksi data, penyajian data, dan penarikan kesimpulan. Hasil dari penelitian ini adalah Sekolah Imamat Rajani memiliki 7 (tujuh) komponen pembelajaran yaitu sebagai berikut : 1) Peserta didik, yaitu jemaat yang mendaftar dan mengikuti seleksi Sekolah Imamat Rajani dengan latar belakang musik yang beragam. 2) Guru, yaitu peserta yang sebelumnya mengikuti Sekolah Imamat Rajani dengan kemampuan musikalitas yang lebih bagus dari peserta yang lain. 3) Tujuan Pembelajaran, yaitu untuk membekali para jemaat atau peserta Sekolah Imamat Rajani tentang keterampilan musik dalam mengiri ibadah, dan bertujuan untuk selaras dengan para pemusik Gereja Bethany Salatiga 4) Materi, yaitu berbagai genre musik yang digunakan dalam ibadah raya Bethany Nginden 5) Metode, yang digunakan dalam Sekolah Imamat Rajani adalah teknik mentoring 6) Media, menggunakan visual dan audio visual. 7) Evaluasi, yaitu dapat melaksanakan kegiatan Sekolah Imamat Rajani dan juga mengikuti ujian kelulusan sebagai pelayan musik.
Gereja Anak Berkebutuhan Khusus Eben Haezer Salatiga: Manajemen dan Fungsi Musik Gereja Sejati, Irfanda Rizki Harmono; Yemima Veronica
Tonika: Jurnal Penelitian dan Pengkajian Seni Vol. 8 No. 2 (2025): Volume 8 Nomor 2 Tahun 2025
Publisher : Sekolah Tinggi Teologi Abdiel

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.37368/tonika.v8i2.829

Abstract

Pelayanan musik gereja memiliki peran sentral dalam membangun suasana ibadah. Dalam konteks gereja yang melayani anak berkebutuhan khusus (ABK), fungsi musik menjadi lebih kompleks karena harus menyesuaikan dengan karakteristik jemaat yang memiliki kebutuhan komunikasi, emosional, dan kognitif yang berbeda. Penelitian ini bertujuan untuk mengungkap dan menganalisis manajemen pelayanan musik gereja serta fungsi musik dalam konteks Gereja ABK Eben Haezer Salatiga. Pendekatan yang digunakan dalam penelitian ini adalah deskriptif kualitatif dengan metode fenomenologi. Data dikumpulkan melalui observasi langsung, wawancara mendalam, dan studi dokumentasi untuk memberikan pemahaman yang komprehensif mengenai subjek penelitian. Hasil penelitian menunjukkan bahwa manajemen pelayanan musik di Gereja ABK Eben Haezer memiliki karakteristik yang unik dibandingkan dengan gereja Kristen pada umumnya. Hal ini disebabkan oleh kebutuhan khusus jemaat yang dilayani. Setiap pelayan musik di gereja ini diwajibkan memiliki kemampuan komunikasi dalam bahasa isyarat, yang memungkinkan interaksi yang efektif dan inklusif dengan jemaat berkebutuhan khusus. Selain itu, musik gereja dalam konteks ini memiliki tiga fungsi utama antara lain musik sebagai pengiring utama dalam ibadah yang menciptakan suasana khidmat dan mendukung tata liturgi, musik berperan sebagai terapi yang memberikan efek positif secara emosional dan psikologis bagi jemaat, dan musik menjadi media ekspresi jemaat kepada Tuhan. Temuan ini diharapkan dapat menjadi referensi bagi gereja-gereja lain yang ingin mengembangkan pelayanan musik yang inklusif dan relevan dalam konteks jemaat berkebutuhan khusus.
Proses Kreativitas Aransemen Lagu Lir-Ilir Oleh Grup Musik Rungon Wresthi Irfanda Rizki Harmono Sejati; Ghazian Arka Fikry
Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik Vol. 4 No. 1 (2022)
Publisher : Program Studi Pendidikan Musik FBS UNP

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/musikolastika.v4i1.79

Abstract

Creativity is a thought or idea that exists in a person to create new things that have never been thought of by others, including in terms of arrangement. In the arrangement there is a process of creation, because the music to be arranged is the basic material, while the music that has been arranged must contain overall plus values ​​both in chords, melodies, accompaniment patterns, fillers and counter melodies. Rungon Wresthi is one of the music groups located in the city of Semarang. This musical group has its own uniqueness and charm in presenting its musical creativity. This study uses a qualitative research method with descriptive exposure, with the aim of revealing the creative method and background of the Rungon Wresthi music group in composing songs. The results of this study can be seen from the four elements of creativity from Rhodes' theory which show how Rungon Wresthi has creativity in creating works which in this context are in the form of Lir-Ilir song arrangements.
Exploring the Contribution of Violin Room to the Creative Industry and Music Culture in the Digital Age Septian Okky Pradana; Irfanda Rizki Harmono Sejati; Isatou Jarju
Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik Vol. 7 No. 2 (2025)
Publisher : Program Studi Pendidikan Musik FBS UNP

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/musikolastika.v7i2.230

Abstract

Objective: This study aims to examine the contribution of Violin Room to the creative industry and music culture in the digital era. Method: This research employs a qualitative descriptive approach with a phenomenological design, allowing for an in-depth understanding of the experiences and practices implemented by Violin Room. Results and Discussion:The findings reveal that Violin Room adopts a systematic strategy in content creation, including planning, production, and publication stages. The content produced covers educational material such as violin tutorials and music theory, as well as entertainment, including student performances and cover songs. The promotional strategies employed involve SEO optimization, the use of attractive thumbnails, and active audience engagement through comments. Conclusion: Violin Room successfully utilizes the violin as a medium for creative content through structured production processes, engaging educational and entertaining content, and effective digital promotion. This not only bridges classical music traditions with digital culture but also broadens the appreciation of the violin in the modern era, contributing to the development of music-based creative content.
Suno AI sebagai Media Peningkatan Kreativitas Mencipta Lagu anak bagi IGTKI Kabupaten Semarang Nafik Salafiyah; Sunarto Sunarto; Bagus Susetyo; Irfanda Rizki Harmono Sejati; Kidung Sukma Asmarani
Jurnal Bina Desa Vol. 8 No. 1 (2026): Vol 8 No 1 (2026)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jurnalbinadesa.v8i1.38466

Abstract

This community service activity aims to increase the musical creativity of Kindergarten teachers (IGTKI Semarang Regency) through training in creating songs using Suno AI's auxiliary media. The implementation method includes workshops, practical assistance, and evaluation of work. A total of 45 kindergarten teachers participated in the activity and produced seven children's songs with the theme of environment, affection, cleanliness, love of the homeland, manners, and anti-bullying. The results showed a transformation of the teacher's mindset from just a song user to an original song creator with a higher sense of confidence. The use of AI has been proven to facilitate the creative process while opening up space for music art learning innovation. Service products in the form of songs, teaching modules, mass media publications, and song copyrights are real outputs that can be used sustainably. Thus, this activity not only improves teacher competence, but also enriches the treasure of Indonesian children's songs. 
Composition and Arrangement Style of Modern Gospel Music: A Musicological Study of the Song "Kunaikkan Syukurku" by NDC Worship Mathias Diasmara Arfeni; Irfanda Rizki Harmono Sejati
Repertoar Vol 7 No 1 (2026)
Publisher : Universitas Negeri Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

Modern gospel music in Indonesia is growing rapidly, alongside the increasing production of contemporary worship works that meet high musical standards. NDC Worship's song "Kunaikkan Syukurku" has been viewed more than 17 million times on YouTube and listened to more than 12 million times on Spotify. However, no systematic academic study has examined its composition and arrangement. This study aims to describe the compositional technique and analyze the characteristics of the modern gospel music arrangement in the song, especially in the Reimagined version. The method used is a qualitative descriptive analysis approach grounded in musicology, using auditory transcription, score observation, document study, and practitioner interviews, with source triangulation as a data validity technique. The results showed that this song was built on the form of two parts (A–B) with 19 beats, developed through sequencing techniques, literal repetition, and interval enlargement, and dominated by deceptive cadence and intense syncopation. The Reimagined version evolved into an 11-part structure with extended chords, a brass section, call-and-response, and harmonic flexibility typical of modern gospel. The research concludes that modern gospel identity is embedded from the basic compositional stage to the final arrangement layer, and that the arrangement's creativity extends beyond the written record.
HARMONY AND SCALE ANALYSIS GUITAR PLAYING OF THE SONG KROMATIK LAGI BY DEWA BUDJANA Taufiqurrihan Firdaus; Irfanda Rizki Harmono Sejati
Jurnal Penelitian Musik Vol 4 No 1 (2023): Jurnal Penelitian Musik
Publisher : Program Studi Pendidikan Musik

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21009/JurnalPenelitianMusik.41.01

Abstract

This study aims to analyze the harmony and scales in guitar playing by Dewa Budjana in his work entitled Kromatik Lagi. The thing that is focused in this research is how tones that are outside the ionian scale can be included in an interesting work. The research method used is a qualitative method with an analytical description approach that refers to the Miles and Huberman model. The data collected is in the form of sheet music that will be discussed per beat and there are a total of 20 beats that include intro and theme. This research only examines the intro and theme sections. It can also be concluded that the work Kromatik Lagi by Dewa Budjana is not playing with origin. But based on some music theory so that it can include chromatic notes that are heard if played in sequence the tone sounds dissonant or disturbing.
Aransemen Keroncong Lagu Widodari Karya Denny Caknan Ardianwicaksono; Irfanda Rizki Harmono Sejati
Jurnal Penelitian Musik Vol 4 No 2 (2023): Jurnal Penelitian Musik
Publisher : Program Studi Pendidikan Musik

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21009/JurnalPenelitianMusik.42.04

Abstract

This study aims to explore and explain the process of arranging Keroncong in the song Widodari by Deny Caknan as well as the presence of local aesthetics and local wisdom in the arrangement. This study applies local theories of intelligence and musical arrangements. This study was designed using descriptive qualitative research methods as well as data collection, analysis, and conclusion procedures. The results show that Widodari's arrangement of Keroncong song contains local aesthetic elements, such as engkel musical concept, double concept and ngganduli vocal concept. In addition, the arrangement process also contains local wisdom values such as aspects of tolerance and mutual cooperation. Tolerance shows that no instrument is superior to another, everything must be in balance. Mutual cooperation is expressed through the intertwining of Keroncong instruments, which cannot work individually but complement each other.
HARMONY AND SCALE ANALYSIS GUITAR PLAYING OF THE SONG KROMATIK LAGI BY DEWA BUDJANA Taufiqurrihan Firdaus; Irfanda Rizki Harmono Sejati
Jurnal Penelitian Musik Vol 4 No 1 (2023): Jurnal Penelitian Musik
Publisher : Program Studi Pendidikan Musik

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21009/JurnalPenelitianMusik.41.01

Abstract

This study aims to analyze the harmony and scales in guitar playing by Dewa Budjana in his work entitled Kromatik Lagi. The thing that is focused in this research is how tones that are outside the ionian scale can be included in an interesting work. The research method used is a qualitative method with an analytical description approach that refers to the Miles and Huberman model. The data collected is in the form of sheet music that will be discussed per beat and there are a total of 20 beats that include intro and theme. This research only examines the intro and theme sections. It can also be concluded that the work Kromatik Lagi by Dewa Budjana is not playing with origin. But based on some music theory so that it can include chromatic notes that are heard if played in sequence the tone sounds dissonant or disturbing.
Aransemen Keroncong Lagu Widodari Karya Denny Caknan Ardianwicaksono; Irfanda Rizki Harmono Sejati
Jurnal Penelitian Musik Vol 4 No 2 (2023): Jurnal Penelitian Musik
Publisher : Program Studi Pendidikan Musik

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21009/JurnalPenelitianMusik.42.04

Abstract

This study aims to explore and explain the process of arranging Keroncong in the song Widodari by Deny Caknan as well as the presence of local aesthetics and local wisdom in the arrangement. This study applies local theories of intelligence and musical arrangements. This study was designed using descriptive qualitative research methods as well as data collection, analysis, and conclusion procedures. The results show that Widodari's arrangement of Keroncong song contains local aesthetic elements, such as engkel musical concept, double concept and ngganduli vocal concept. In addition, the arrangement process also contains local wisdom values such as aspects of tolerance and mutual cooperation. Tolerance shows that no instrument is superior to another, everything must be in balance. Mutual cooperation is expressed through the intertwining of Keroncong instruments, which cannot work individually but complement each other.
Co-Authors Aji Setiawan Andreas Inu Harimuti Ardianwicaksono Arif Fiyanto Arif Rahman Hidayat Ariyani Widyastuti Bagus Susetyo Bagus Susetyo Dian Kurnia Sari Eko Raharjo Eko Raharjo Ghazian Arka Fikry Isatou Jarju Jarju, Isatou Kidung Sukma Asmarani Lutfiani Maulina Maulina Mathias Diasmara Arfeni Nafik Salafiyah Ratna Pratiwi Ritchie Manuel Pratama Septian Okky Pradana Septian Okky Pradana Simanjuntak, Michael Slamet Haryono Sunarto Sunarto Sunarto Sunarto Sunarto Sunarto Sunarto Sunarto Sunaryo, Tejo Bagus Taufiqurrihan Firdaus Theodorik, Victor Udi Utomo Udi Utomo Witantri Catri Daniswari Wynsa, Elsya Yemima Veronica