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Estetika Cengkok dan Makna dalam Kidungan Jula-Juli Lawakan Yudhistira Sugma Nugraha; Zulkarnain Mistortoify
DESKOVI : Art and Design Journal Vol. 5 No. 1 (2022): JUNI 2022
Publisher : Universitas Maarif Hasyim Latif

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.51804/deskovi.v5i1.1766

Penelitian berjudul “Estetika Cengkok dan Makna dalam Kidungan Jula-Juli Lawakan” ini bertujuan untuk mengetahui secara mendasar makna yang tertanam dalam syair kidungan dan kecenderungan cengkok yang dilakukan oleh pelantun kidungan tersebut sehingga dapat membentuk sebuah estetika nyanyian yang harmonis. Penelitian ini menggunakan metode kualitatif dengan pendekatan etnomusikologi yang menekankan bahwa keberadaan musik (kidungan Jula-Juli) tidak dapat dipisahkan dari keberadaan lingkungan sekitarnya. Pendekatan ini dirasa cocok untuk diaplikasikan dalam penelitian ini, mengingat kidungan Jula-Juli lawakan lahir dan tumbuh di tengah-tengah masyarakat yang multikultural. Data-data yang diperoleh dalam penelitian ini melalui observasi, studi diskografi, pustaka dan wawancara. Berdasarkan hasil penelitian tentang makna dan estetika cengkok dalam kidungan Jula-Juli lawakan, dapat diketahui bahwa kidungan tidak sekadar lantunan vokal yang bersenandung indah dalam gending Jula-Juli, melainkan juga menyangkut kompleksitas tentang ide, gagasan, dan wacana tentang kehidupan manusia. Pembacaan akan hal itu dapat dilihat dari makna lirik yang ada, memuat tentang nasihat, kritik sosial,edukasi dan sebagainya. Selanjutnya kajian tentang estetika cengkok dalam Kidungan ini dapat diidentifikasi melalui angkatan atau awalan nada yang dilantunkan, kecenderungan pada penggalan cengkok, dan akhiran yang dilakukan secara konsisten, sehingga hal itu yang menjadi kekuatan dalam harmonisasi Kidungan Jula-Juli Lawakan.

Langgam Makassar: the adaptation of keroncong to local music in Makassar Adiatma Hudzaifah; Zulkarnain Mistortoify
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol. 18 No. 2 (2023)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v18i2.5455

The musical landscape of Makassar features a unique variant of keroncong known as "Langgam Makassar." Faced with limited references to keroncong before Indonesia's independence, musicians in Makassar encountered a dilemma that prompted inventive solutions in the development of keroncong. This led to the emergence of Langgam Makassar as a distinct variant, undergoing a process of adaptation to the local music scene. The research aims to illustrate and explore key aspects of Langgam Makassar, encompassing musicological, historical, and societal dimensions. The methodology employed in this study is an ethnomusicological approach involving direct observation of Langgam Makassar practices and performances. The findings were validated through interviews with Langgam Makassar musicians, recordings, and document analysis. This method offers an understanding of music within its societal context, exploring the reasons why keroncong in Makassar diverges and evolves into Langgam Makassar. The results demonstrate that Langgam Makassar is a product of the creativity of Makassar musicians who, despite limitations, successfully developed keroncong by incorporating elements from local musical traditions such as kelong, parambang, and losquin. These efforts contribute to the distinctive features of Langgam Makassar, establishing it as a novel variant of keroncong.

Strategies and techniques for crafting a scientific manuscript for artistic publication: a guide for academic artists in Indonesia Sularso Sularso; Agus Cahyono; Qinyu Yu; Joko Suranto; Zulkarnain Mistortoify; Lardianto Budhi
International Journal of Visual and Performing Arts Vol 6, No 1 (2024)
Publisher : ASSOCIATION FOR SCIENTIFIC COMPUTING ELECTRICAL AND ENGINEERING (ASCEE)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31763/viperarts.v6i1.1314

Scientific publications in the field of art creation have sparked considerable debate within the academic community in Indonesia. Issues such as the validity of artworks, assessment criteria, publication formats, and the alignment of academic standards with artistic practice have generated discussions regarding the format of publication writing. This article aims to offer alternative guidance on techniques for writing scientific publication articles in the field of art creation, particularly tailored for academic artists in Indonesia. The guidance encompasses a literature review, the selection of an appropriate methodology, the provision of relevant examples and illustrations, the application of a reflective analytical approach, the clear presentation of data and results from art creation research, as well as the development of an appropriate writing structure and language. Through this study, academic artists in Indonesia stand to benefit significantly. First, they can enhance the quality of their publications by adhering to the provided writing technique guidelines. These guidelines will aid in fortifying the substance of their articles, organizing data in a structured manner, and conveying thoughts and ideas more clearly and effectively. Second, by employing this guide, academic artists can improve their ability to disseminate their thoughts, ideas, and artistic knowledge more widely. This will enable them to contribute to the global arts community through high-quality scientific publications. By enhancing the quality of publications and fostering more effective dissemination of ideas, this research will contribute to the development and recognition of Indonesian academic artists on the global stage. Through the enhancement of publication quality and the improved dissemination of artworks, Indonesian academic artists will be better positioned to make significant contributions.

New harmony of Javanese keroncong case study: Boogie Rahayu's work on the Kroncwrong album Sono Seni Ensemble Zulkarnain Mistortoify; Bao Hanshi
International Journal of Visual and Performing Arts Vol 5, No 2 (2023)
Publisher : ASSOCIATION FOR SCIENTIFIC COMPUTING ELECTRICAL AND ENGINEERING (ASCEE)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31763/viperarts.v5i2.829

This research aims to unveil one of the compositional works of the Sono Seni Ensemble Surakarta music group, titled 'Boogie Rahayu.' This work offers a distinct paradigm and compositional technique in comparison to the works of typical progressive keroncong orchestra groups. The study endeavors to reveal the composition of 'Boogie Rahayu' through an analysis that integrates source knowledge of karawitan music structures, keroncong playing techniques, attitudes towards sound sources, and an openness to presenting new harmonies. Examining this compositional work contributes to addressing the issue of creativity stagnation in the Javanese style of keroncong. The research adopts a musicological and cultural approach, focusing on the primary objects of the work and the performers. Data collection techniques involve field observations and interviews conducted through both online and offline methods, as well as document and artifact studies using conventional and online methods. During the analysis stage, this study employs an emic approach, considering the composer's thoughts and beliefs, alongside a musicological approach that delves into musical structure, rhythm changes, cadence interpretation, and chord harmony. The results of the research indicate that 'Boogie Rahayu' introduces a new avenue of development capable of transcending artistic and aesthetic boundaries among keroncong music, Javanese style, and Javanese karawitan

Pola Kellèghãn dan Teknik Vokal Kèjhungan Representasi Ekspresi Budaya Madura dan Pengalaman Estetiknya Mistortoify, Zulkarnain; Haryono, Timbul; Ganap, Victor; L. Simatupang, G.R. Lono
Resital: Jurnal Seni Pertunjukan Vol 15, No 1 (2014): Juni 2014
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v15i1.796

Kèjhungan adalah gaya nyanyian Madura yang memiliki ciri-ciri kontur melodi dengandidominasi nada-nada tinggi, penuh dengan ketegangan suara (nyaring), ekspresif, dan terpola.Kèjhungan seringkali dianalogikan sebagai sebuah bentuk ekspresi “keluh-kesah” semata. Kelantangansuara, ketinggian nada, dan pengolahan melodi yang penuh melismatis mengesankan nyanyian iniseperti orang yang sedang berteriak, membentak, dan merintih-rintih. Penelitian ini dilakukan untukmengungkap hubungan antara karakteristik kèjhungan dengan dunia pengalaman manusia pemiliknya.Oleh karenanya, aspek yang dikaji tidak hanya melihat aspek materi nyanyian itu sendiri, melainkanmelihat pula perilaku menyanyikannya. Melalui analisis struktural-hermeneutik dan pendekatanetnoestetik, ditemukan bahwa kellèghãn (pola-pola kalimat lagu) menjadi karakteristik pokok daribentuk kèjhungan dan teknik vokalnya yang bertumpu pada capaian ekspresi yang “menggebu-gebu”.Ide dan konsep yang tergali dibalik itu menunjukkan adanya relasi antara kebiasaan menyanyi orangMadura dengan pengalaman sejarah sosial-budayanya. Hasil penelitian ini menunjukkan bahwanyanyian Madura secara fenomenologis memberikan petunjuk yang sangat jelas sebagai representasidari ekspresi budaya dan pengalaman estetik, khususnya pada sub kultur barat Madura. Kellèghãn Pattern and Kèjhungan Vocal Technique, the Representation of Madurese CulturalExpression and Aesthetic Experience. Kèjhungan is a singing style specific to Madurese. It features thepatterned melodic contour dominated by high pitch vocal, expressiveness, and full of vocal intensity. Maduresekèjhungan is often misperceived only as a form of “moaning” due to its piercing sound, high pitch note, andmelismatic melody. Kèjhungan gives an impression of a person shrieking and moaning at the same time. Thestudy of kèjhungan was conducted to reveal the relationship between the singing characteristic and humanexperiences. Therefore, kèjhungan aspects should not only focus on the singing material itself, but it shouldalso include a study on how people sing it. Using the structural-hermeneutic analysis and ethno aestheticapproach, the kellèghãn (patterns of musical phrase) and vocal techniques that rest upon volatile expressionare the basic characteristics of kèjhungan. The idea and concept behind those techniques show a connectionbetween Madurese singing practice and the chronicle of their socio-cultural experience. Finally, this researchshows that in phenomenological aspect it gives a very clear clue on the representation of the Madurese cultureexpression and aesthetic experience, especially the sub-culture of West Madura.

Tradisi Tinilo Pa’ita dalam Kehidupan Masyarakat Gorontalo Vita Alfanikmah; Zulkarnain Mistortoify
PANGGUNG Vol 30 No 1 (2020): Polisemi dalam Interpretasi Tradisi Kreatif
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v30i1.1143

ABSTRACTThis paper aims to find out the form of the tradition of tinilo pa’ita present at the ceremony commemoratingthe 40th day of someone’s death because currently the tradition of tinilo pa’ita is fairly difficult to find inits community. This study uses qualitative research methods using an ethnographic approach by Spradleyto understand a culture from the point of view of their owners of culture. Tinilo pa’ita is a tradition inthe form of chants. Tinilo Pa’ita is present in the tradition of wopato pulu huyi. This song containsan apology for the person who has died, advice to the family left behind to remain patient and sincere,advice to the other peolple who is left to always remember death and always carry out the religious ordersadopted by the community, namely Islam. In its implementation, tinilo pa’ita attended several stagesof the wopato pulu huyi ceremony. The presence of tinilo pa’ita in Gorontalo society can only be foundduring the wopato pulu huyi because, the community believes this song can only be sung when it is sideby side with the tomb that will be delivered to the tomb. Until now the tradition of tinilo pa’ita is stillbeing carried out even though it is only in certain areas.Keywords: Oral Tradition, Tinilo Pa’ita, Funeral ceremonyABSTRAKTulisan ini bertujuan untuk mengetahui bentuk tradisi tinilo pa’ita yang hadir dalam upacaraperingatan hari ke 40 kematian seseorang sebab saat ini tradisi tinilo pa’ita terbilang cukupsulit untuk dijumpai dalam masyarakatnya. Penelitian ini menggunakan metode penelitiankualitatif dengan menggunakan pendekatan etnografi oleh Spradley untuk memahami sebuahkebudayaan dari sudut pandang mereka pemilik kebudayaan. Tinilo pa’ita merupakan sebuahtradisi yang berbentuk lantunan nyanyian. Tinilo Pa’ita hadir dalam tradisi wopato pulu huyi.Nyanyian ini berisi permohonan maaf atas orang yang telah meninggal, nasihat kepada keluargayang ditinggalkan agar tetap sabar dan ikhlas, nasehat kepada handaitaulan yang ditinggalkanuntuk selalu mengingat kematian dan senantiasa menjalankan perintah agama yang dianutoleh masyarakat yakni agama Islam. Dalam pelaksanaanya, tinilo pa’ita hadir dalam beberapatahapan pelaksanaan upacara wopato pulu huyi. Kehadiran tinilo pa’ita dalam masyarakatGorontalo hanya dapat dijumpai saat wopato pulu huyi sebab, masyarakat percaya nyanyianini hanya bisa dilantunkan pada saat berdampingan dengan nisan yang akan diantarkan kemakam. Hingga saat ini tradisi tinilo pa’ita masih terus dilaksanakan meskipun hanya padadaerah-daerah tertentu saja.Kata Kunci: Tradisi Lisan, Tinilo Pa’ita, Upacara Pemakaman

PENDIDIKAN DAN PELATIHAN PENCIPTAAN KARYA SENI MUSIK LEGENDA SATISA SEBAGAI WARISAN BUDAYA MASYARAKAT KECAMATAN MANDIANGIN KABUPATEN SAROLANGUN PROVINSI JAMBI Aan Febri; Zulkarnain Mistortoify
EDU RESEARCH Vol 5 No 4 (2024): EDU RESEARCH
Publisher : IICLS (Indonesian Institute for Corporate Learning and Studies)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.47827/jer.v5i4.330

Karya yang berjudul Legenda Satisa merupakan kajian metode penciptaan komposisi musik yang berangkat dari kesenian Tradisional Tari Kain Kromong, terletak di Daerah Mandiangin Tuo, Kecamatan Mandiangin. Pengkarya menggunakan pendekatan konsep Musik_Programa untuk menginterpretasikan cerita dari seseorang bernama Satisa yang diyakini masyarakat setempat sebagai orang pertama kali yang menginspirasi terciptanya Tari Kain Kromong. Secara keseluruhan cerita- cerita tersebut akan dirangkai dan disusun kembali oleh pengkarya sebagai ide Ekstra-Musikal. Komposisi musik ini menggunakan struktur bentuk 2 bagian (2nd Movement) dalam formasi kelompok Orkestra. Secara musikal, penggarapan yang dilakukan oleh pengkarya yaitu berpijak pada bentuk musikal dari pola melodi Musik Kromong untuk mencari karakter yang ada pada Musik Kromong seperti: Warna Bunyi (Timbre) – Jarak Nada (Interval) – Susunan Nada (Scale). Dimana keseluruhan aspek musikal tersebut akan garap dengan berbagai pertimbangan teknik komposi, seperti: teknik Orkestrasi dan Instrumentasi.

TUKANG RABAB DAN KABA RABAB PASISIA DALAM ACARA BARALEK DI NAGARI TALAO Maiben alpandi; Mistortoify, Zulkarnain
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 17 No. 1 (2024)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v17i1.6074

The study "Tukang Rabab dan Kaba Rabab Pasisia dalam Acara Baralek di Nagari Talao, Sumatra Barat" explores the competencies and presentation of kaba rabab pasisia in baralek events. This performance reveals the richness of Minangkabau culture, from a warm opening to a meaningful core story. Through poetic lyrics and captivating music, Kaba enriches understanding of Minangkabau cultural values. Tukang Rabab, as cultural guardians, adeptly perform rabab pasisia and master Minangkabau language and literature. Social interaction is key to their competence, living within the community of rabab pasisia artists and exchanging knowledge and skills. Despite facing modernization challenges, the art of rabab pasisia remains relevant and valuable. The participation of tukang rabab in cultural events, art training, and preservation projects strengthens Minangkabau identity and cultural heritage. This performance fosters community solidarity and serves as a platform for learning life values, enriching and preserving Minangkabau cultural identity, and encouraging the younger generation to uphold ancestral traditions

Strategi Kompositoris Grup Band Djiwoastra di tengah Persaingan Industri Musik Metal Indonesia Agustian, Aji; Zulkarnain Mistortoify
Jurnal Mebang: Kajian Budaya Musik dan Pendidikan Musik Vol. 5 No. 1 (2025)
Publisher : Program Studi Etnomusikologi, Fakultas Ilmu Budaya, Universitas Mulawarman

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30872/mebang.v5i1.164

This article examines the compositional strategies of the musical group Djiwoastra in constructing a musical identity rooted in historical and cultural narratives of the Nusantara through the medium of metal music. Using an autoethnographic approach, the paper reflects the creator’s lived experience in the creative process. The musical exploration undertaken by the group not only blends sonic elements, but also presents a dialectic between traditional and modern aesthetics within musical structure. Through collaborative methods that take into account the technical and expressive limitations of each member, Djiwoastra’s works develop linear and narratively driven musical patterns contextualized within the spirit of Javanese cultural might. Traditional instruments such as the Gandrang Makassar, Puik-Puik, and Balinese Ceng-Ceng are not treated as mere ornamentation but are integrated as structural elements in crafting a hybrid and articulate musical identity. This article posits that Djiwoastra’s creative practice is not merely an aesthetic endeavor, but a cultural strategy oriented toward resisting the homogenization of global musical tastes by revitalizing local values within a contemporary musical framework.

TUKANG RABAB DAN KABA RABAB PASISIA DALAM ACARA BARALEK DI NAGARI TALAO Maiben alpandi; Mistortoify, Zulkarnain
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 17 No. 1 (2024): July
Publisher : Institut Seni Indonesia (ISI) Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v17i1.6074

The study "Tukang Rabab dan Kaba Rabab Pasisia dalam Acara Baralek di Nagari Talao, Sumatra Barat" explores the competencies and presentation of kaba rabab pasisia in baralek events. This performance reveals the richness of Minangkabau culture, from a warm opening to a meaningful core story. Through poetic lyrics and captivating music, Kaba enriches understanding of Minangkabau cultural values. Tukang Rabab, as cultural guardians, adeptly perform rabab pasisia and master Minangkabau language and literature. Social interaction is key to their competence, living within the community of rabab pasisia artists and exchanging knowledge and skills. Despite facing modernization challenges, the art of rabab pasisia remains relevant and valuable. The participation of tukang rabab in cultural events, art training, and preservation projects strengthens Minangkabau identity and cultural heritage. This performance fosters community solidarity and serves as a platform for learning life values, enriching and preserving Minangkabau cultural identity, and encouraging the younger generation to uphold ancestral traditions

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