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All Journal Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Journal of Urban Society´s Arts Panggung Gondang: Jurnal Seni dan Budaya Sorai: Jurnal Pengkajian dan Penciptaan Musik Abdi Seni Dewa Ruci : Jurnal Pengkajian dan Penciptaan Seni DESKOVI : Art and Design Journal International Journal of Visual and Performing Arts Jurnal Mebang Edu Research : Jurnal Penelitian Pendidikan Panggung
Zulkarnain Mistortoify
Institut Seni Indonesia Surakarta
Arts Humanities Education Languange, Linguistic, Communication & Media Social Sciences Other

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Langgam Makassar: the adaptation of keroncong to local music in Makassar Hudzaifah, Adiatma; Mistortoify, Zulkarnain
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

Abstract

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.
Tradisi Tinilo Pa’ita dalam Kehidupan Masyarakat Gorontalo Alfanikmah, Vita; Mistortoify, Zulkarnain
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

Abstract

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
SAPTONO DALAM MELESTARIKAN DAN MENGEMBANGAN KARAWITAN TRADISI SURAKARTA Ciptaningsih, Utami; Mistortoify, Zulkarnain
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 14 No. 1 (2021)
Publisher : Institut Seni Indonesia (ISI) Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v14i1.3826

Abstract

This qualitative research is about the figure of Saptono in the world of classical Surakarta-style karawitan. Saptono is a skilled musician in mastering the repertoire of gendhing and ricikan in all types of Javanese Surakarta-style gamelan. Apart from being a former lecturer at ISI Yogyakarta, he also serves as a gamelan musician at the Surakarta Kasunanan Palace. High loyalty and musical virtuosity made Saptono appointed Kanjeng Raden Riyo Aryo (K.R.R.A) Saptonodiningrat and given a special task as tindhih of gamelan musicians at the Surakarta Kasunanan Palace. Two basic questions arise about how Saptono creative activities maintain the continuity of the Surakarta style musical and what reasons encourage him to do these activities. Based on these two questions, it is known that all forms of loyalty to the Surakarta Kasunanan Palace are shown by Saptono by utilizing all of his musical potential in creating classical Surakarta style gendhing, which is specifically dedicated to King Paku Buwana XIII. Saptono dedication to the development of karawitan to the wider community is shown through his willingness to become a music teacher at home and abroad, become a courtier of musicians at the Kasunanan Surakarta Palace, and become a driving force for the Muryoraras art community as a meditation association with Javanese gamelan instruments.
Learning Banyuwangi Traditional Music at Sanggar Jiwa Etnik Blambangan: A Model of Inheritance and Innovation Setiawan, Aris; Mistortoify, Zulkarnain; Sugmatimur, Yuddan Fijar
Journal of Urban Society's Arts Vol 12, No 2 (2025): October 2025
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jousa.v12i2.16381

Abstract

This study examines the mechanisms of traditional music transmission at Sanggar Jiwa Etnik Blambangan in Banyuwangi, a rapidly growing sanggar (studio) where most members are young learners. The research focuses on the learning process, supporting factors, and documentation strategies that can be replicated as a teaching model for curriculum development in arts institutions. Specifically, this study supports plans to establish an arts campus in Banyuwangi. The research employs a participatory ethnographic approach, structured interviews, and creative organizational analysis to explore pedagogical interactions, sanggar structure, and innovations in musical practice. The theoretical framework integrates Lave & Wenger’s community of practice, Florida’s creative organization concepts, and an ethnomusicological approach to analyze musical structures and their social contexts. Findings reveal that Sanggar Jiwa Etnik Blambangan employs effective methods to simplify complex musical patterns, incorporates cultural context in each learning session, and makes traditional music more engaging and accessible to younger generations. This process not only enhances the accessibility of traditional music education but also fosters greater interest and active participation among sanggar members. These findings reinforce the potential of the sanggar’s learning model as a reference for arts curriculum development, particularly in the context of establishing an arts campus in Banyuwangi.
Co-Authors Aan Febri Adiatma Hudzaifah Agus Cahyono Agustian, Aji Alfanikmah, Vita Apris Yulianto Saefatu Aris Setiawan Bao Hanshi Bayu Raditya Prabowo Ciptaningsih, Utami G.R. Lono L. Simatupang Hudzaifah, Adiatma Joko Suranto Lardianto Budhi Lono L. Simatupang Maiben alpandi Marlyn Brainy Girlie Windewani MOHAMMAD TSAQIBUL FIKRI Mutiara Dewi Fatimah Qinyu Yu Sularso Sularso Timbul Haryono Timbul Haryono Timur, Yuddan Fijar Sugma Utami Ciptaningsih Victor Ganap Victorius Ganap Vita Alfanikmah Yudhistira Sugma Nugraha