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All Journal Ekspresi: Indonesian Art Journal Journal of Music Science, Technology, and Industry (JOMSTI)
Erizal Barnawi
Program Studi Pendidikan Musik, Universitas Lampung
Arts Humanities Education Languange, Linguistic, Communication & Media Social Sciences Other

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Gitar Klasik Lampung Pesisir: Pola Permainan dan Sistem Penalaannya Erizal Barnawi; Bian Pamungkas; M. Randi Dimas Prayoga; M Yoga
Journal of Music Science, Technology, and Industry Vol. 4 No. 2 (2021)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (404.303 KB)

Abstract

Purpose: This study aims to find out what songs (tetti') are on the Lampung Coastal Classical Guitar and to be able to be transcribed into beam notation. Because so far not many have transcribed to become learning materials. Research methods: Qualitative research with a case study approach is applied and a musicological analysis study will be used to analyze the passages and the tuning system on the Lampung Coastal Classical Guitar. Results and discussion: The results of the reduction were analyzed based on the theoretical framework used by Alan P Marriam's concept to determine the tuning and strumming system used by Edi Pulampas, Hila Hambala, and Imam Rojali. The results of the analysis will be related to the framework of Karl Edmund Prier SJ's thinking about a form of Lampung Coastal Classical Guitar music that exists and lives in the community. Implication: The names of the tunings found in the study are the Salimpat Stem, Gung Sai Stem, Triple Stem, Batang Hari Sembilan Stem and Standard Stem. With the tuning system, Salimpat Stem (e',b,fis,d,b,E), Gung Sai Stem (e',b,g,d,b,E), Triple Triumvirate Stem (e',b,e', d,b,E), Nine Days Stem (e',b,fis,d,b,E) and standard stem (e',b,g,d,a,E).
Orkes Gambus Himpunan Remaja Karya di Canggu, Batu Brak, Lampung Barat Muhammad Randi Dimas Prayoga; Erizal Barnawi; Bian Pamungkas
Journal of Music Science, Technology, and Industry Vol. 5 No. 2 (2022)
Publisher : Institut Seni Indonesia Denpasar

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Abstract

Purpose: This study aims to describe the form of presentation of the Orkes Gambus HRK and a description of the structural analysis of the Janji Sebudi, Dang Cawa Khua, Gekhing, Mak Kesiwan and Seandanan song which is a legendary old song by HRK created by Basnal Maas. Research Methods: Qualitative research based on case studies. Sources of data in this study were obtained through interviews with the performers of the Orkes Gambus HRK, field observations, and documentation in the form of audio recordings transcribed into block notation as material for analyzing the form and structure of songs that are often presented by the HRK group. The song was analyzed using the theory of Karl Edmund Prier in his book entitled Ilmu Bentuk Musik. Results and discussion: The results of this study indicate that there are two aspects of presentation in the Orkes Gambus HRK performance, namely the form of musical presentation and the form of non-musical presentation. The form of musical presentation is in the form of instruments consisting of piul (violin), Gambus, Ketipung, Tambourines, Electric Bass, and Electric Guitars which are played on one of the legendary populer songs by HRK. The form of non-musical presentation includes the place of presentation, supporters, time, players, costumes, and loudspeakers. Implication: This research can contribute to science, as a written documentation of the typical art of West Lampung, namely the Orkes Gambus.
ENSEMBEL GAMOLAN: MENGETAHUI BAKAT AUDIASI DAN IMITASI ANAK USIA DINI Hasyimkan Hasyimkan; Agung Hero Hernanda; Erizal Barnawi; Ari Palawi; Arwina Indira Purnama; Destiana Fatma Sari
EKSPRESI: Indonesian Art Journal Vol 12, No 1 (2023)
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ekp.v12i1.9548

Abstract

AbstrakPenelitian ini bertujuan untuk mengetahui bakat audiasi dan imitasi anak dalam bermain instrumen tradisional gamolan dari Lampung. Audiasi adalah bagian yang utuh dari bakat dan pencapaian kemampuan musikal. Kemampuan audiasi adalah kemampuan yang tidak dapat dipelajari karena merupakan bakat musikal yang muncul secara alami. Imitasi adalah tindakan peniruan yang merupakan langkah awal dalam mengembangkan potensi pendengaran melalui orang lain. Penelitian ini menggunakan metode pra-eksperimen yang dilakukan selama 10 kali pertemuan selama 5 minggu dengan pola dua kali dalam sepekan. Subjek penelitian ini adalah siswa Taman Kanak-kanak Assyafi’iyah Jati Indah Tanjung Bintang Lampung Selatan yang berjumlah 20 orang anak usia dini berusia 5 – 6 tahun yang sebelumnya tidak mengenal alat musik gamolan. Penelitian ini menemukan bahwa terdapat dua anak yang tergolong memiliki kemampuan audiasi dan 18 anak yang berkemampuan imitasi dari 20 orang subjek yang dibagi dalam dua kelompok yaitu 10 pemain gamolan pembawa melodi utama dan 10 pemain rebana sebagai pembawa iringan musik gamolan.Kata kunci: Audiasi, Imitasi, Gamolan, Lampung  AbstractThis study aims to determine children's audiation and imitation talents in playing traditional gamolan instruments from Lampung. Audition is an integral part of talent and musical ability achievement. Audiation is a naturally occurring musical talent. Imitation is an act of imitation which is the first step in developing hearing potential through others. This study used the pre-experimental method, conducted for ten five-week meetings with a pattern of twice a week. The subjects of this study were 20 students at the Assyafi'iyah Jati Indah Tanjung Bintang Kindergarten, South Lampung, totaling 20 early childhood children aged 5-6 years who were previously unfamiliar with gamolan musical instruments. Twenty subjects were divided into two groups: ten gamolan players as carriers of the main melody and ten rebana tambourine players as carriers of gamolan music accompaniment. This study found that two children had the audiation ability, and 18 children had the imitation ability.Keywords: Audiation, Imitation, Gamolan instruments, Lampung 
Ansambel Klenongan di Tiyuh Panaragan, Kabupaten Tulang Bawang Barat Erizal Barnawi; Bian Pamungkas; Adi Saputra; Sony Afandi4
Journal of Music Science, Technology, and Industry Vol. 6 No. 2 (2023)
Publisher : Institut Seni Indonesia Denpasar

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Abstract

Tujuan: Artikel ini bertujuan untuk mengkaji bentuk penyajian musikal dan non musikal serta fungsi ansambel Klenongan di Tiyuh Panaragan. Selain itu mendokumentasikan melalui transkripsi notasi balok dari tabuhan-tabuhan yang ada di ansambel Klenongan. Metode penelitian: penelitian ini menggunakan metode kualitatif dengan pendekatan deskriptif analisis yang difokuskan pada objek ansambel Klenongan. Selanjutnya penggunakan reduksi data untuk menganalisis bentuk dan fungsinya ansambel Klenongan dengan pendekatan teori fungsinya Alan P Merriam, dan teori bentuk musik dari Pono Banoe. Hasil dan pembahasan: Bentuk penyajian musikal ansambel Klenongan meliputi instrumen Klenong, instrumen Gujih, instrumen Gung, instrumen Gender, dan instrumen Kelabay. Untuk tangga nadanya meliputi D-E-F-A-B-D’ serta tabuhannya yakni, tabuh Tari, tabuh Tigel, dan tabuh Tarub. Selanjutnya untuk penyajian non musikal meliputi tempat, pendukung, waktu, pemain, kostum pemain, tata cahaya, dan pengeras suara. Fungsi musik dalam ansambel Klenongan yakni fungsi sebagai pengungkap emosional, fungsi sebagai hiburan, fungsi sebagai sarana, fungsi sebagai repon fisik, Fungsi sebagai pengukuhan institusi sosial, fungsi sebagai keserasian norma-norma masyarakat. Implikasi: Penelitian ini memberikan kontribusi untuk media pembelajaran karena mentranskripsikan tabuhan-tabuhan asli dari daerah Panaragan, Kab. Tulang Bawang Barat, dan memberikan pandangan untuk kajian etnomusikologi mengenai bentuk dan fungsi musik ansambel Klenongan.
Co-Authors Adi Saputra Agung Hero Hernanda Ari Palawi Arwina Indira Purnama Destiana Fatma Sari hasyimkan hasyimkan M Yoga M. Randi Dimas Prayoga Muhammad Randi Dimas Prayoga Pamungkas, Bian Sony Afandi4