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All Journal Gondang: Jurnal Seni dan Budaya Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik
Chamil Arkhasa Nikko Mazlan
Universiti Pendidikan Sultan Idris
Arts Humanities

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Proses Awal dalam Penghasilan Komposisi “Kelampan Bajang” dengan Mengadaptasi Struktur Musik Pop Suku Sasak Lombok Sapriadi Sapriadi; Chamil Arkhasa Nikko Mazlan; Affendi Ramli
Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik Vol 3 No 2 (2021)
Publisher : Program Studi Pendidikan Musik FBS UNP

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/musikolastika.v3i2.68

Abstract

The musical composition, entitled Kelampan Bajang, is the main narrative of the composition theme about the story of the journey of the young Sasak tribe which is semiotically depicted in three different times, namely morning, afternoon, and night. This composition emerged due to several phenomena found, including 1) there are no complete Sasak songs in transcripts and arrangements, 2) many musicians arrange songs in Sasak but often cause controversy in lyrics and music, 3) many talented young musicians cover repeating noname songs on several songs performed by many pop singers in Lombok, 4) many sasak pop songs but most of them do not represent local culture in terms of lyrics and music. This paper aims to explain the initial process of musical composition with the theme Kelampan Bajang including 1) Bekuliq, 2) Bekayaq, 3) Matur Tampiasih, 4) Sepi Alam Dese, 5) Lalo Midang, and 6) Merariq. All song lyrics are written in the Sasak language. The research uses the autoethnographic method to discuss the problem, how the idea of ​​creating musical compositions can be aligned with the diversity of musical culture in Lombok. After conducting an in-depth study, the author concluded that in order to create a compositional work that could represent regional culture and not cause controversy among the public, namely 1) the author inserted an exploration of the pelog and slendro melodic motifs in the vocal melody section as regional identity, 2) the author inserted the motif the melodies of pelog and slendro in the musical arrangement section, and 3) the author uses good and correct local language lyrics that are in accordance with the regional culture in Lombok.
Needs Analysis of Using Tiktok Applications as an Alternative in Music Teaching and Learning Marlia Munirah Abu Mansor Halimi; Chamil Arkhasa Nikko Mazlan
Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik Vol 4 No 2 (2022)
Publisher : Program Studi Pendidikan Musik FBS UNP

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/musikolastika.v4i2.90

Abstract

The current direction of education is changing towards digital education, known as information and communication technology (ICT). Educators can choose the right digital platform to use as a teaching aid among media that has a place among Generation Z, one of which is TikTok. Nevertheless, from several selected platforms cannot be separated from the inherent consequences and challenges. This study aims to discuss the use of Tiktok in the music learning process, both as a teacher and a student. The research method used is qualitative analysis to get an in-depth understanding of the use of Tiktok, which focuses on music knowledge. The results of this study show the advantages and disadvantages of using the Tiktok application in Music Education.
Patrilineal Constraints and Female Creativity: Case on Gitar Tunggal Lampung Riyan Hidayatullah; Chamil Arkhasa Nikko Mazlan
Gondang: Jurnal Seni dan Budaya Vol 8, No 1 (2024): GONDANG: JURNAL SENI DAN BUDAYA
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gondang.v8i1.53037

Abstract

Women have played a significant role in the history of Lampung's indigenous people, a.k.a Ulun Lappung. Lampung and women have had a long relationship since the Lampung people's ancestors settled in this area in the 14th century. Ratu Sekarmong, a Lampung indigenous resident, has led the Tumi tribe in Sekala Brak. Then women played a unique role in the stringed music of the Pepadun community two generations ago, particularly the gitar tunggal. Participant observations of female gitar tunggal performers, particularly those from the Pepadun ethnic group of Lampung, were used to conduct this qualitative study. The number of female guitar players in Lampung is currently dispersed. Women of the ethnic Pepadun make up the majority of the performers. In-depth descriptions are also produced using ethnographic data and digital documents from the internet. Investigations on virtual field sites, interviews, and literature reviews are used to collect research data. According to the findings, male and female gitar tunggal performers use the same way in techniques. Contrarily, female guitarists have different goals than male guitarists. Women are prohibited from playing stringed instruments in public or in the local music industry. In addition, male performers typically remain active on stage, whereas female performers only reside in their homes. In the traditional view, their creativity is only used for household amusement. As a result, female guitarists must advance new coping mechanisms that affect their ability to retain music. Women's contributions to developing Lampung stringed music must be acknowledged, particularly in light of the patrilineal Lampung traditional system.
Co-Authors Affendi Ramli Marlia Munirah Abu Mansor Halimi Riyan Hidayatullah Sapriadi Sapriadi