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PERSPEKTIF PENDIDIKAN SENI MUSIK BERORIENTASI HUMANISTIK Anarbuka Kukuh Prabawa; A. M. Susilo Pradoko; Cipto Budy Handoyo
Imaji Vol 19, No 1 (2021): IMAJI APRIL
Publisher : FBS UNY

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21831/imaji.v19i1.37093

Kajian ini merupakan hasil analisis kritis terhadap konsep pendidikan seni musik dengan berpusat pada orientasi humanistik. Orientasi humanistik berarti siswa dianggap sebagai subjek yang mandiri bukan sebagai objek didik.Peran pendidik disini memberikan pengalaman kepada siswa bagaimana cara untuk berekspresi, mengapresiasi, berkreasi, serta juga membentuk sebuah rangkaian harmonisasi yang melahirkan keindahan dalam rangka menumbuhkan kesadaran, kemandirian, dan tanggung jawab yang tinggi sebagai hakikat manusia yang seutuhnya. Sementara paradigm objektivasi murid dengan memberikan materi, pengetahuan hafalan dan ujian pilihan ganda menjadi model pembelajaran dominan. Penerapan pendidikan seni musik dengan berorientasi humanistik dilaksanakan penerapannya secara menyeluruh agar siswa mengerti dan mampu memahami makna inti dari belajar musik mencakup pengetahuan, keterampilan berkreativitas music dan sikap mandiri dalam penempilan musik.Kata Kunci : pendidikan musik, humanistik, subjek mandiri ABSTRACT This study is the result of a critical analysis of the concept of music education with a humanistic orientation centered on it. Humanistic orientation means that students are considered as independent subjects, not as objects of learning. The role of educators here is to provide students with experience on how to express, appreciate, be creative, and also form a series of harmonization that gives birth to beauty to foster awareness, independence, and responsibility that high as a complete human nature. Meanwhile, the objectivation paradigm of students by providing material, rote knowledge, and multiple-choice exams is the dominant learning model. The application of music education with a humanistic orientation is carried out as a whole so that students understand and can understand the core meaning of learning music including knowledge, musical creativity skills, and independent attitudes in musical performance. Keywords: Music Education, Humanistic, Independent. Subject

PENGEMBANGAN FUNGSI KEYBOARD : SUATU ALTERNATIF UPAYA PELESTARIAN MUSIK GAMELAN Cipto Budy Handoyo
Imaji Vol 3, No 2 (2005): IMAJI AGUSTUS
Publisher : FBS UNY

MUSIK DAN PEMATANGAN DINI JIWA ANAK Cipto Budy Handoyo
Imaji Vol 10, No 2 (2012): IMAJI AGUSTUS
Publisher : FBS UNY

Music cannot be separated from human life, and it has been attached to people from generation to generation in all periods of time. Therefore, music logically influences human life as the civilization develops both in positive and in negative ways. The negative influences can cause the human beings’ “early maturity”. Commonly, negative influences have the power to affect people more easily, and this also happens in music. Music can easily inspire people, especially the young, in a negative way. For example, when children enjoy a certain kind of music with all its negative performance and style, they will be easily stimulated by what they see. Thus, people generally expect to gain the positive effects from music. In doing so, there is a huge responsibility for us to think about the way music can give positive contributions especially for the young. In this case, we should optimistically guide children to choose the right kinds of music for them so that we can help them develop their mind for their bright future.

The “Pakeliran Padat” wayang show as an alternative to evoke interest in wayang and gamelan music Cipto Budy Handoyo
Imaji Vol 20, No 2 (2022): IMAJI OKTOBER
Publisher : FBS UNY

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21831/imaji.v20i2.48955

This study aims to examine the effect of the "Pakeliran Padat" wayang show on the interest and sense of belonging towards wayang and gamelan music (the accompaniment music for wayang show). The study was conducted in the effort to address the concern about the possibility that one of the nation’s cultural resources and a noble form of art, namely the arts of wayang and gamelan, may be abandoned by the future generation as the owner of this heritage. The method used in this study was the quantitative method using the t-test procedure to obtain information about whether the "Pakeliran Padat" wayang show has any effect on the interest of the respondents in wayang kulit and gamelan before and after the show. In this study, students watched the wayang and gamelan show to completion with an appreciative expression in an enjoyable atmosphere. Based on the questionnaires they filled in after the show about their perception on the wayang and gamelan show, it is evident that they enjoyed the show. This indicates a real (significant) difference compared to their perception before watching the wayang and gamelan show several months prior. The difference in mean scores between the before (81.53) and after watching the show (86.40) is 5.13, meaning that it has a significance of 0.012 or smaller than the standard significance number of 0.05. Keywords : Pakeliran Padat, interest, sense of belonging Pergelaran wayang “Pakeliran Padat” sebagai alternatif membangkitkan rasa menyukainya sekaligus menyukai musik gamelanAbstrakPenelitian ini bertujuan untuk mengungkap pengaruh pertunjukan Wayang Kulit Pakeliran Padat terhadap rasa menyukai dan rasa memiliki terhadap pertunjukan wayang kulit dan terhadap musik gamelan (musik pengiring pertunjukan wayang kulit). Hal ini dilakukan oleh karena adanya upaya untuk menepis keprihatinan terhadap kemungkinan ditinggalkannya salah satu kekayaan budaya berupa seni yang agung yaitu seni pewayangan dan gamelan oleh oleh pemilik/pewarisnya sendiri (generasi penerus bangsa). Metode yang digunakan dalam penelitian ini adalah metode kuantitatif, dengan menggunakan prosedur uji-t untuk mendapatkan informasi ada dan tidaknya pengaruh pertunjukan wayang kulit pakeliran padat terhadap suka atau tidak sukanya responden terhadap wayang kulit dan gamelan, antara sebelum dan sesudah adanya pertunjukan wayang kulit dan gamelan sebagai pengiringnya. Dalam penelitian yang telah dilakukan menunjukkan bahwa di samping mahasiswa menonton pertunjukan wayang dan gamelan hingga selesai dengan suasana dan ekspresi yang menyenangkan, ketika usai pertunjukan diminta mengisi kuesioner tentang persepsi mereka terhadap wayang dan gamelan tersebut, ternyata mereka merasa menyukai. Ini berbeda secara nyata (signifikan) dengan keadaan sebelumnya (beberapa bulan sebelum adanya pertunjukan wayang kulit dan gamelan): selisih mean antara sebelum (81,53) dan sesudah (86,40) = 5,13 dengan signifikansi 0,012 lebih kecil dari 0,05 (bilangan standar signifikansi).Kata kunci : pakeliran padat, rasa menyukai, rasa memiliki

KOSMOLOGI EMBODIED DALAM TARI SRIMPI SARI KEMBAR: NEGOSIASI HARMONI, KETIDAKSEIMBANGAN, DAN PRAKTIK EKSISTENSIAL TUBUH Putri Najla Ayu Rasyid; Cipto Budy Handoyo
JURNAL PAKARENA Vol 11, No 1 (2026): Juli
Publisher : Universitas Negeri Makassar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26858/p.v11i1.84639

Penelitian tentang Tari Srimpi umumnya melihat tari sebagai representasi harmoni kosmologi Jawa yang ideal dan stabil. Namun, kajian yang menghubungkan kosmologi empat unsur dengan pengalaman tubuh penari serta dinamika dalam proses latihan masih terbatas. Penelitian ini bertujuan untuk menganalisis bagaimana kosmologi empat unsur ditampilkan, dirasakan, dan dinegosiasikan dalam praktik tubuh pada Tari Srimpi Sari Kembar. Penelitian ini menggunakan pendekatan kualitatif interpretatif dengan kerangka etnografi tubuh. Data dikumpulkan melalui observasi partisipatif, wawancara mendalam, dan dokumentasi visual. Analisis data dilakukan melalui koding tematik, kemudian ditafsirkan menggunakan perspektif semiotika Peirce, fenomenologi Merleau-Ponty, konsep habitus Bourdieu, serta teori performativitas Schechner. Hasil penelitian menunjukkan bahwa tubuh penari tidak hanya menampilkan kosmologi, tetapi juga mengalaminya secara langsung (menubuh). Ketidaksinkronan gerak dan perubahan pola lantai tidak selalu merupakan kesalahan teknis, tetapi dapat dipahami sebagai bentuk gangguan makna (disrupsi semiotik) yang justru membuka kemungkinan penafsiran baru. Temuan ini menunjukkan adanya ketegangan antara harmoni yang diharapkan dan kenyataan dalam praktik tubuh. Penelitian ini menawarkan konsep embodied cosmology sebagai cara untuk memahami tari bukan hanya sebagai simbol, tetapi juga sebagai pengalaman yang hidup dan proses yang terus berkembang.

NILAI PITUTUR JAWA DALAM KARYA TARI WAYANG SUKET PUSPA SARIRA Alif Laili Ramadhani Ilaah Nur; Cipto Budy Handoyo
JURNAL PAKARENA Vol 11, No 1 (2026): Juli
Publisher : Universitas Negeri Makassar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26858/p.v11i1.83698

This study aims to examine the construction of meaning and values embedded in the dance work and its implications for dance arts education. A descriptive qualitative method was employed, with data collected through in-depth interviews and documentation. The findings reveal that Puspa Sarira constructs meaning through three philosophical dimensions: ontologically, the dancer's body is positioned as a symbolic space radiating inner values; epistemologically, the learning process encourages understanding through direct experience and reflection; and axiologically, every element of the work carries noble values including humility, empathy, independence, solidarity, and the aspiration for holistic well-being. Each of the ten documented dance movements contains pitutur messages encoded through gesture, formation, the white kelir screen property and wayang suket, and song lyrics. These findings imply that Puspa Sarira is suitable for integration as a local wisdom-based dance learning material at the junior high school level, while simultaneously serving as an active preservation effort for the endangered wayang suket tradition. This research contributes to the development of an arts education paradigm oriented not merely toward technical skill, but toward the formation of whole, characterful individuals deeply rooted in their own cultural values

Estetika Kolektif dan Nilai Filosofis Musik Krumpyung sebagai Representasi Kearifan Ekologis Masyarakat Agraris Darma Prayoga; Cipto Budy Handoyo
Morfologi : Jurnal Ilmu Pendidikan, Bahasa, Sastra dan Budaya Vol. 4 No. 5 (2026): October: Morfologi: Jurnal Ilmu Pendidikan, Bahasa, Sastra dan Budaya
Publisher : Asosiasi Periset Bahasa Sastra Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.61132/morfologi.v4i5.3051

This study examines the collective aesthetics and philosophical values of Krumpyung music as a representation of ecological wisdom in Hargowilis Village, Kulon Progo, Yogyakarta, Indonesia. It uses a qualitative case study. Three informants were purposively selected: a Krumpyung music figure, an artist and trainer, and a music enthusiast. Data were collected through participant observation, in-depth interviews, and documentation, then analyzed through data reduction, data display, and conclusion drawing. The findings show that Krumpyung’s collective aesthetics emerge through bamboo instruments, collaborative performance, Javanese-language songs, uniform costumes, and flexible staging. These elements create an aesthetic experience and strengthen community cohesion and cultural identity. Krumpyung serves as entertainment, accompaniment for traditional dance, and part of rituals, including merti desa (village thanksgiving) and harvest thanksgiving ceremonies. Its values include mutual cooperation, social harmony, gratitude, respect for nature, and intergenerational cultural transmission. Bamboo instruments can be interpreted symbolically as reflecting the use of local resources in agrarian life. The findings suggest that Krumpyung provides a cultural space for expressing and transmitting social, spiritual, and ecological values. However, these symbolic meanings do not, by themselves, demonstrate environmental conservation practices. This study contributes to traditional music scholarship by connecting collective aesthetics and values with the community’s perspectives on the environment.

Hakikat Menenun dalam Kehidupan Pengrajin Baduy: Kajian Filosofis Tentang Pengalaman Kreatif Ratu Vilda Intan Purnama Sari; Cipto Budy Handoyo
Morfologi : Jurnal Ilmu Pendidikan, Bahasa, Sastra dan Budaya Vol. 4 No. 5 (2026): October: Morfologi: Jurnal Ilmu Pendidikan, Bahasa, Sastra dan Budaya
Publisher : Asosiasi Periset Bahasa Sastra Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.61132/morfologi.v4i5.3054

Baduy weaving can be understood not only as a textile with particular forms and functions but also as a human activity shaped by experience, skills, knowledge, perseverance, and interaction with the environment. This study aims to philosophically examine the essence of weaving based on the experience of a Baduy weaver in Kanekes Village, Lebak Regency, Banten. This research employs a qualitative approach through philosophical inquiry and descriptive-interpretive analysis. Data were obtained through in-depth interviews with a weaver, observations of the weaving process, and field documentation. The findings indicate that weaving activities follow the weaver’s daily rhythm, and the time devoted to weaving may vary according to the distribution of activities with other forms of work, including farming. The weaving process also demonstrates practical knowledge concerning materials, tools, movements, repetition, and the ability to adapt to the conditions of the materials and the surrounding environment. Philosophically, the essence of weaving does not merely lie in the finished textile but in the human experience of transforming knowledge into action. Skills are developed through repetition and experience, while values such as perseverance, patience, precision, and adaptability emerge from the creative process itself. Thus, the sustainability of weaving as a traditional art depends not only on the existence of its products but also on the continuity of knowledge, experience, skills, and the ability to practice them.

Terbang Genduk: Estetika Kolektif dan Nilai Filosofis Kesenian Musik Rebana Pekalongan Muhammad Khotibul Umam; Cipto Budy Handoyo
Morfologi : Jurnal Ilmu Pendidikan, Bahasa, Sastra dan Budaya Vol. 4 No. 5 (2026): October: Morfologi: Jurnal Ilmu Pendidikan, Bahasa, Sastra dan Budaya
Publisher : Asosiasi Periset Bahasa Sastra Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.61132/morfologi.v4i5.3063

Terbang Genduk is a traditional rebana art in Pekalongan rooted in the social life of its surrounding community. Its continuity depends on community appreciation, encompassing worldviews, philosophical values, traditions, ethical and aesthetic values, and local cultural expressions transmitted across generations. As a valuable cultural heritage, Terbang Genduk holds profound philosophical significance and reflects the importance of nurturing and preserving culture. This study employs a qualitative approach with philosophical inquiry to explore its function and existence through collective aesthetics and philosophical values. Field data were collected through direct observation and interviews from August to October 2026 with Gus Mahbub of Lesbumi PCNU Pekalongan, a practitioner and preserver of this art. The research focuses on practitioners’ direct experiences, drawing empirical insights into collective aesthetics and philosophical values from informants’ accounts. The limited number of in-depth scholarly studies on Terbang Genduk provides an opportunity and a challenge to contribute to the philosophy of art. Specifically, this research examines its aesthetic and philosophical values within the dynamics of preserving community-based traditional arts among religious communities in coastal regions.

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