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All Journal Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Harmonia: Journal of Research and Education Tonika: Jurnal Penelitian dan Pengkajian Seni Jurnal Hibualamo : Seri ilmu-ilmu Alam dan Kesehatan International Journal of Educational Research Excellence (IJERE)
Agastya Rama Listya
Satya Wacana Christian University Of Salatiga
Agriculture, Biological Sciences & Forestry Arts Humanities Chemical Engineering, Chemistry & Bioengineering Earth & Planetary Sciences Education Health Professions Languange, Linguistic, Communication & Media Public Health Social Sciences Other

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PENGARUH TERAPI MUSIK: INSTRUMENTAL PIANO TERHADAP PASIEN PERILAKU KEKERASAN Siahaya, Presli Glovrig; Listya, Agastya Rama
Hibualamo : Seri Ilmu-Ilmu Alam dan Kesehatan Vol 2 No 2 (2018): September 2018
Publisher : LPPM Universitas Hein Namotemo

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (512.713 KB)

Abstract

Penelitian ini bertujuan untuk mengetahui adanya tidak pengaruh terapi musik instrumental piano terhadap pengontrolan pasien perilaku kekerasan di ruang Irawan Wibisono RSJD dr. Amino Gondohutomo ? Semarang. Penelitian ini melibatkan pasien gangguan jiwa dengan perilaku kekerasan di ruang Irawan Wibisono, RSJD dr. Amino Gondohutomo, Semarang. Pada penelitian ini terdapat du hipotesis, dimana H0 menyatakan tidak ada pengaruh terapi musik: instrumental piano terhadap pengontrolan pasien perilaku kekerasan dan H1 menyatakan ada pengaruh terapi musik: instrumental piano terhadap pengontrolan pasien perilaku kekerasan. Penelitian ini dilakukan dengan metode eksperimen dengan desain true experiment design dengan only control group design. Dalam eksperimen tersebut dibandingkan dua kelompok, satu kelompok eksperimen yang tidak dikenai perlakuan dan satu kelompok eksperimen yang dikenai perlakuan berupa terapi musik: instrumental piano. Sebagai indikasi ada tidaknya pengaruh terapi musik: instrumental piano terhadap pengontrolan pasien perilaku kekerasan. Dari pengujian hipotesis, diperoleh hasil bahwa kelompok eksperimen memiliki hasil yang lebih baik dari pada kelompok kontrol. Berdasarkan hasil perhitungan dapat disimpulkan bahwa ada pengaruh terapi musik: instrumental piano terhadap pengontrolan pasien perilaku kekerasan.   This study aims to determine whether there is no effect of instrumental piano music therapy on controlling patients with violent behavior in the room of Irawan Wibisono RSJD Dr. Amino Gondohutomo - Semarang. This study involved mental patients with violent behavior in the room of Irawan Wibisono, RSJD Dr. Amino Gondohutomo, Semarang. In this study there are two hypotheses, where H0 states that there is no effect of music therapy: instrumental piano on controlling patients' violent behavior and H1 states that there is an influence of music therapy: instrumental piano to control patients for violent behavior. This research was conducted with an experimental method with the design of true experiment design with only control group design. In the experiment compared to two groups, one experimental group that was not subjected to treatment and one experimental group subjected to treatment in the form of music therapy: piano instrumental. As an indication of the presence or absence of the influence of music therapy: instrumental piano to control patients for violent behavior. From testing the hypothesis, the results showed that the experimental group had better results than the control group. Based on the results of the calculation it can be concluded that there is an influence of music therapy: instrumental piano on controlling patients' violent behavior.
RIJOQ: VOCAL MUSIC OF DAYAK BENUAQ FROM KUTAI, EAST KALIMANTAN -, Ester; Listya, Agastya Rama
Harmonia: Journal of Arts Research and Education Vol 14, No 1 (2014): June 2014
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.v14i1.2784

Abstract

Rijoq, a Dayak Benuaq vocal music, has been passed down from generation to generation through oral tradition for hundreds of years. When and how it was founded, developed and preserved in the Dayak community remains questionable. But according to some research done by scholars, Rijoq has its origin from Dayak Bawo, a tribe living in the borderlines between Central, South, and East Kalimantan. Rijoq is normally performed during festivities, such as: initiation, reconciliation, menugal (rice planting) and potong kerbau (buffalo slaughtering). Rijoq’s texts have very deep messages which are considered still relevant to today’s life context. On the one hand, it speaks about the horizontal relationship—human beings and their fellows, and human beings and its nature—; and on the other hand, the vertical relationship—human beings with their Creator. The primary concern of doing this research is to preserve Rijoq as written and recorded documents. So far, this research has been successful in notating and recording five kinds of Rijoq, that is Peket Muat Bolupm (working together to build lives), Rijoq Patuk Ajer (advice), Rijoq Natal Tautn Bayuq (Christmas and New Year), Rijoq Isiq Asekng Sookng Bawe (the expression of a man’s feeling who is falling in love with a woman), and Rijoq Lati Tana Orekng Tepa (forests and lands are disappearing and gone). But this paper is not intended to discuss these five kinds of Rijoq. Isiq Asekng Sookng Bawe is chosen as it is the oldest and the most difficult Rijoq among the rest.
Kajian Musikologis Ya Tuhan, Tuhan Kami dalam Buku Nyanyikanlah Nyanyian Baru Bagi Tuhan Imanuela Indahmevia Putri Moniung; Agastya Rama Listya; Rachel Mediana Untung
Tonika: Jurnal Penelitian dan Pengkajian Seni Vol 6 No 1 (2023): Volume 6 Nomor 1 Tahun 2023
Publisher : Sekolah Tinggi Theologia Abdiel

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.37368/tonika.v6i1.522

Abstract

Artikel ini bertujuan menganalisis secara struktural lagu Ya Tuhan, Tuhan Kami dengan menggunakan pendekatan musikologis. Penelitian ini merupakan penelitian tekstual dengan sumber data utama adalah partitur dari NNBT No. 17 Ya Tuhan Tuhan Kami. Hasil penelitian menunjukkan bahwa lagu Ya Tuhan, Tuhan Kami yang bertangga nada Es mayor dan bertanda sukat 4/4 merupakan lagu berbentuk dua bagian (binary form). Lagu Ya Tuhan, Tuhan Kami diadaptasi dari Mazmur pasal 8 yang menggambarkan tentang kemuliaan Tuhan. Lagu ini dinyanyikan dalam volume suara yang keras atau melengking, menggambarkan upaya manusia mendekatkan diri dengan sang Maha Kuasa serta menyatakan keagungan Tuhan. Lirik lagunya menggunakan bentuk sastra dialog dan litani. Lagu ini disajikan dengan mengadaptasi cara bernyanyi dalam maengket, budaya pertunjukan dari etnis Minahasa. Unsur maengket dari lagu ini dapat dilihat pada bagian A solo, yaitu suara sopran yang mencerminkan peran kapel, pemimpin perempuan. Pada bagian B, munculnya trio pada frase kelima.
The Organology of Rotenese Musical Instruments According to the Hornbostel-Sachs Classification System Listya, Agastya Rama
Harmonia: Journal of Arts Research and Education Vol 22, No 2 (2022): December 2022
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.v22i2.38218

Abstract

This article aims to propose a classification of Rotenese traditional musical instruments based on the Hornbostel-Sachs (the H-S) method. The author conducted this ethnographic field research on the island of Rote, East Nusa Tenggara Province, from 2015 to 2016. The seven existing Rotenese traditional musical instruments analyzed in this article are: 1) meko ai or the meko o (the wooden or the bamboo xylophone); 2) the meko besik or the meko lilok (the hanging iron or brass gongs); 3) the meko besik or the meko lilok (the iron or brass metallophone); 4) the labu kici or the labu so’e (the single-headed, bowl-shaped drum); 5) the tambur or the labu (the single-headed, long cylindrical drum); 6) the bitala (the crash cymbals); and 7) the sasandu (the heterochord tube-zither). The only Rotenese traditional musical instrument that is not discussed in this article is kianuk, the two-holed bamboo flute, approximately ten centimeters long. This instrument does not exist anymore. The four aspects discussed in this article are 1) the construction, 2) the materials, 3) the ways of playing, and 4) the size of the instruments. Information was gathered from interviews with some key persons and through photography and video recording. This research acknowledges some limitations; for instance, providing exact information is challenging and limiting in the absence of a standard for meko tuning and making. Therefore, the information given here about the size, the material, the tuning, and the note intervals is an approximation. 
RIJOQ: VOCAL MUSIC OF DAYAK BENUAQ FROM KUTAI, EAST KALIMANTAN -, Ester; Listya, Agastya Rama
Harmonia: Journal of Arts Research and Education Vol 14, No 1 (2014): June 2014
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.v14i1.2784

Abstract

Rijoq, a Dayak Benuaq vocal music, has been passed down from generation to generation through oral tradition for hundreds of years. When and how it was founded, developed and preserved in the Dayak community remains questionable. But according to some research done by scholars, Rijoq has its origin from Dayak Bawo, a tribe living in the borderlines between Central, South, and East Kalimantan. Rijoq is normally performed during festivities, such as: initiation, reconciliation, menugal (rice planting) and potong kerbau (buffalo slaughtering). Rijoq’s texts have very deep messages which are considered still relevant to today’s life context. On the one hand, it speaks about the horizontal relationship—human beings and their fellows, and human beings and its nature—; and on the other hand, the vertical relationship—human beings with their Creator. The primary concern of doing this research is to preserve Rijoq as written and recorded documents. So far, this research has been successful in notating and recording five kinds of Rijoq, that is Peket Muat Bolupm (working together to build lives), Rijoq Patuk Ajer (advice), Rijoq Natal Tautn Bayuq (Christmas and New Year), Rijoq Isiq Asekng Sookng Bawe (the expression of a man’s feeling who is falling in love with a woman), and Rijoq Lati Tana Orekng Tepa (forests and lands are disappearing and gone). But this paper is not intended to discuss these five kinds of Rijoq. Isiq Asekng Sookng Bawe is chosen as it is the oldest and the most difficult Rijoq among the rest.
"Manguni," A Minahasan Cultural Identity: The Application of Practice-Based Research on A Program Music Gosal, Clifford Israel; Listya, Agastya Rama; Komalig, Yudi Novrian; Tan, Arwin Quiñones
Resital: Jurnal Seni Pertunjukan Vol 25, No 1 (2024): April 2024
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v25i1.12059

Abstract

Manguni is a Minahasan term for a carnivorous, nocturnal bird known as an owl. The manguni has the Latin name otus manadensis. Minahasan people believe that the manguni is a bird that brings news from Opo Wailan Wangko or God Almighty. In the modern era, mangunis have become endangered due to hunting and logging of trees that were mangunis' original habitat. The extinction of these birds has impacted the younger generation's understanding of the manguni as the identity of the Minahasan people, as well as the ancestral cultural values found in this bird. This research aims to introduce and preserve the noble values found in manguni to the younger generation through symphonic works that combine Minahasan and Western musical idioms. The use of orchestral instruments in nationalistic works has also been done by Romantic-era composers such as Bedrich Smetana, Antonin Dvorak, Bela Bartok, Zoltan Kodaly, and others. However, Manguni is the first orchestral composition to capture the magical figure of this bird musically. This research applies a qualitative and practice-based approach that positions the researcher as the vital instrument. Several stages of research include conceptualizing the composition, incorporating leitmotifs, adding extramusical ideas, pouring ideas or creations, composing detailed compositions, and evaluating. The research output is a descriptive programmatic musical work that uses manguni as an extramusical idea. Leitmotifs represent the nature and character of the manguni and its meanings to the Minahasan people. The work adopts Minahasan musical idioms, such as the rhythmic patterns of Kabasaran dance and the modes and ornamentation of Maengket singing. The Manguni movement is written in a sonata form consisting of exposition, development, recapitulation, and coda. The techniques used include polytonal, cluster, quartal, artificial harmony, polychord, sequence, augmentation, diminution, and retrograde.
Songs as Transformative Ideology: An Ethnomusicological Approach to the Song Hai Tanahku Papua at GKI in Papua Land Wompere, Oskar Ayub; Setyawan, Yusak; Y.M. Lattu, Izak; Listya, Agastya Rama
International Journal of Educational Research Excellence (IJERE) Vol. 3 No. 2 (2024): July-December
Publisher : PT Inovasi Pratama Internasional

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55299/ijere.v3i2.1198

Abstract

The purpose of this research is to analyze nyayian as a transformative ideology that focuses on the ideas of the song Hai Tanahku Papua. The song can be an ideological song that can lead listeners to experience life as Papuan people. The research method used in this study is qualitative research with descriptive analysis usingEthnomusicological Approachwith data collection techniques using observation, interview and documentation methods on Papuan people who live in the GKI Tanah Papua church. From the results of the study, the author found that singing is one of the transformative ideologies of Papuan people in living life as a society.The ideology conveyed through songs with theological nuances for Papuans is a warning and message in the form of loyalty, obedience and listening to God which can determine success in the land of Papua. Ethnomusicology must enter to be able to provide the right answer through cultural and musical solutions from different perspectives while bridging renewal for social justice for all Indonesian people on the land of Papua.
Co-Authors Ester - Gosal, Clifford Israel Imanuela Indahmevia Putri Moniung Komalig, Yudi Novrian Rachel Mediana Untung Setyawan, Yusak Siahaya, Presli Glovrig Tan, Arwin Quiñones Wompere, Oskar Ayub Y.M. Lattu, Izak