Hadaci Sidik
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Komposisi Musik “Impresi Doak” Transformasi Suara Burung Elang Pada Seni Tutur Doak di Desa Aur Cino, Kecamatan VII Koto, Kab Tebo, Jambi Hadaci Sidik; Ferry Herdianto
PROMUSIKA Vol 10, No 1 (2022): April 2022
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/promusika.v10i1.6965

Abstract

Indonesia memiliki keragaman tradisi yang sangat beragam, sehingga menjadi aset potensial untuk digali dan dikembangkan. Potensi bangsa ini salah satunya dapat dijadikan sebagai sumber inspirasi atau ide dalam menciptakan komposisi musik. Tiap daerah di Indonesia memiliki tradisinya masing-masing, seperti salah satu tradisi lisan masyarakat DesaAur Cino, Kabupaten Tebo Propinsi Jambi. Di daerah ini dikenal seni tutur Doak yang merupakan wujud seni vokal yang mangandung pesan penuh hikmah, kebijkasanaan, pengetahuan, keterampilan, pengalaman d intelegensi. Doak juga merupakan abstraksi dan  interaksi manusia dengan manusia, manusia dengan alam sekitar, yang menggambarkan hubungan manusia dengan kebahagiaan , hubungan manusia dengan kesedihan, dan hubungan manusia dengan cinta kasih. Kesenian doak, terdiri dari tiga bagian yang terangkum dalam sebuah bentuk, yaitu Kelik ¸Merayu meibo dan, Marah. Memelihara tradisi bukanlah sekedar memelihara bentuk, tetapi lebih pada jiwa dan semangat atau nilai-nilai. Jika yang diwarisi nilai-nilai, maka kita akan dengan lebih leluasa bisa melakukan interpretasi dan menciptakannya kembali  dengan sikap kreatif dan imajinasi yang tinggi. Kemampuan menganalisa dan mengadopsi budaya baru, harus disikapi dengan pemahaman nilai-nilai tradisi sendiri dalam upaya pelestarian seni dan tradisi sebagai bentuk kearifan budaya lokal. Penciptaan komposisi musik ini melalui tahapan Identifikasi unsur-unsur musikal, eksplorasi terhadap ide musik, dan eksperimentasi  terhadap interval-interval yang terdapat dalam kebiasaan-kebiasaan masyarakat desa setempat, sehingga menjadi warna baru dalam bentuk komposisi musik ansamble yang memiliki karakter khas salah satu daerah nusantara dan mewakili gambaran seni tutur Doak di desa aur cino, VII Koto, tebo, Jambi.AbstractMusic Composition "Impression of Doak" Transformation of Eagle Voice in Doak Speech Art in Aur Cino Village, District VII Koto, Tebo Regency, Jambi. Indonesia has diverse traditions, so it becomes a potential asset to explore and develop. One of the potentials of this nation can be used as a source of inspiration or ideas in creating musical compositions. Each region in Indonesia has its traditions, such as one of the people's oral traditions of Aur Cino Village, Tebo Regency, Jambi Province. In this area, the art of Doak is known, which is a form of vocal art that contains a message full of wisdom, wisdom, knowledge, skills, experience, and intelligence. Doak is also an abstraction and interaction between humans and humans, humans with the natural environment, which describes the relationship between humans and happiness, human relationships with sadness, and human relationships with love. Doak art consists of three parts summarized in one form, namely Kelik Merayu meibo and Marah. Maintaining tradition is not just supporting the form but also the soul and spirit or values. If values are inherited, we will be able to more freely interpret and recreate them with a creative attitude and high imagination. The creation of this musical composition goes through the stages of identification of musical elements, exploration of musical ideas, and experimentation with intervals contained in the habits of the local village community so that it becomes a new color in the form of musical ensemble compositions that have a distinctive character from one of the regions of the archipelago. And represents a picture of Doak's speech art in the village of Aur Cino, VII Koto, Tebo, Jambi.Keywords: Doak, Kelik, Merayu meibo, Marah
Nyemendo's Music Composition: Technical and Empirical Verification of the Transformation of the Three Philosophical Values of the Premarital Tradition of the Orang Rimba Hadaci Sidik; Aluna; Ferry Herdianto; Ahmad Zaidi; Weldi Syaputra
JPPI (Jurnal Penelitian Pendidikan Indonesia) Vol. 12 No. 1 (2026): JPPI (Jurnal Penelitian Pendidikan Indonesia)
Publisher : Indonesian Institute for Counseling, Education and Theraphy (IICET)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29210/020266887

Abstract

The premarital tradition of Nyemendo indigenous Orang Rimba in Jambi contains three philosophical values: active patience, practical competence, and communal decisions. These three values have been ethnographically documented by researchers before, but they have never been transformed into musical works and their success has been verified. This article discusses the creation of a three-part musical composition program (exposition, development, recapitulation) with the aim of answering musical questions, namely: what kind of sound represents active patience, what kind of sound represents practical competence, what musical parameters translate active patience into habitus, and what kind of instrumentation represents communal decision. This study uses three theoretical frameworks: Bourdieu's habitus for the social dimension, Tarasti's musical semiotics for the musical sign dimension, and Feld's acoustemology for the dimension of sound as knowledge. Based on this framework, three compositional concepts were formulated: static minimalism for active patience, gestural virtuosity for practical competence, and discontinuous alternation without soloist initiative for communal decisions. The musical material comes from the main notes of the Orang Rimba ritual mantras as well as the sounds of the forest which are treated as materials equivalent to the tone. The results of technical verification through score analysis proved the existence of the three concepts in 139 beats with a duration of 18 minutes. The results of empirical verification through a hearing test with three respondents (composers, art practitioners, and Tumenggung Urip as traditional elders) showed an average score of 4.33 for active patience, 4.67 for practical competence, and 4.33 for communal decisions (scale 1–5). This composition succeeded in filling the research gap by presenting Nyemendo's philosophical values into a verified sound medium.
Trombone Soloist Performance with The Repertoire "Sonata In F Minor", "Djoget Hitam Manis," and "Dancing Queen" Muhammad Rheinhard Afana; Hafif HR; Ibnu Sina; Hadaci Sidik; Ofa Yutri
Musica: Journal of Music Vol 6, No 1 (2026): MUSICA : JOURNAL OF MUSIC
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/musica.v6i1.6315

Abstract

This solo trombone recital is a practice-based research aimed at exploring the interpretative capacity and flexibility of the trombone as a solo instrument through the performance of three selected repertoires: Sonata in F Minor by Georg Philipp Telemann, Joget Hitam Manis arranged in a Malay–tango style, and Dancing Queen by ABBA. The research employs a performance-based methodology consisting of preparation, rehearsal process, performance, and post-performance evaluation. The results indicate that each repertoire requires a distinct technical and interpretative approach in terms of articulation, phrasing, dynamics, and stylistic understanding. Sonata in F Minor emphasizes the mastery of Baroque idioms and ornamentation, Joget Hitam Manis demands the ability to blend Malay musical characteristics with tango elements, while Dancing Queen requires adaptation of vocal idioms and pop–disco grooves into trombone performance. This recital demonstrates that the trombone possesses broad interpretative flexibility and is capable of functioning as a communicative solo instrument across diverse musical genres.