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All Journal Harmonia: Journal of Research and Education Indonesian Journal of Conservation Islam Futura Jurnal Pendidikan dan Kajian Seni Catharsis MUDRA Jurnal Seni Budaya Gondang: Jurnal Seni dan Budaya ILKOM Jurnal Ilmiah JSM (Jurnal Seni Musik) JURNAL KAJIAN TEKNIK MESIN EkBis: Jurnal Ekonomi dan Bisnis JAMIN : Jurnal Aplikasi Manajemen dan Inovasi Bisnis Jurnal Ilmiah Manajemen Kesatuan Dinasti International Journal of Digital Business Management GETER : Jurnal Seni Drama, Tari dan Musik Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik Virtuoso: Jurnal Pengkajian dan Penciptaan Musik Varia Humanika JEBDEKER: Jurnal Ekonomi, Manajemen, Akuntansi, Bisnis Digital, Ekonomi Kreatif, Entrepreneur Solo Journal of Anesthesi, Pain and Critical Care Madani Syari'ah : Jurnal Pemikiran Perbankan Syari'ah Journal of Islamic Economic and Business Research Cakrawala: Jurnal Studi Islam KINDAI : Kumpulan Informasi dan Artikel Ilmiah Manajamen dan Akuntansi Journal of Lex Theory (JLT) Cinematology Journal Anthology of Film and Television Studies Prosiding Seminar Nasional Pengabdian Kepada Masyarakat Jurnal Pengabdian Mandiri Jurnal Penelitian Musik International Journal of Advanced Multidisciplinary Jurnal Riset Rumpun Seni, Desain dan Media (JURRSENDEM) Proceeding of International Conference on Science, Education, and Technology Jurnal Manajemen Sistem Informasi JRIIN :Jurnal Riset Informatika dan Inovasi BEduManageRs Journal : Borneo Educational Management and Research Journal SWADIMAS: JURNAL PENGABDIAN KEPADA MASYARAKAT Green Inflation: International Journal of Management And Strategic Business Leadership Epaper Bisnis: International Journal Entrepreneurship and Management Access: Journal of Accounting, Finance and Sharia Accounting Jurnal Penelitian Musik (JSM) Jurnal Seni Musik Jurnal Ilmiah Manajemen Dan Kewirausahaan
Abdul Rachman
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Pengelolaan Laboratorium Seni di Perguruan Tinggi Rachman, Abdul; Sinaga, Syahrul Syah
Jurnal Seni Musik Vol 8 No 2 (2019): December 2019
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (786.411 KB) | DOI: 10.15294/jsm.v8i2.35593

Abstract

Tujuan penelitian ini adalah untuk mengetahui bagaimanakah pengelolaan laboratorium seni yang efektif. Metode penelitian ini adalah kualitatif. Hasil pengumpulan data dengan teknik observasi, wawancara, dokumentasi, dan analisis data. Berdasarkan penelitian dapat disimpulkan bahwa pengelolaan Laboratorium Seni di Tingkat Perguruan Tinggi terdiri dari tiga hal yaitu Desain Laboratorium, Perencanaan, dan Pengelolaan dan Pengorganisasian. Desain laboratorium terbagi menjadi studio-studio yang dikelola berdasarkan kebutuhan perkuliahan. Perencanaan Laboratorium meliputi program-program kegiatan jangka panjang dan jangka pendek untuk mengidentifikasi kebutuhan-kebutuhan yang diperlukan untuk memfasilitasi setiap kegiatan perkuliahan. Sedangkan Pengelolaan dan pengorganisasian meliputi penataan, pengamanan, perawatan, dan pengawasan. Dengan adanya pengelolaan Laboratorium Seni di tingkat Perguruan Tinggi maka akan mampu meningkatkan kualitas perkuliahan seni tari maupun musik sehingga menghasilkan kualitas hasil belajar mengajar, kegiatan penelitian dan pengabdian serta menghasilkan karya-karya terbaik baik dari mahasiswa maupun dosen.
Constructive Learning Model In Sub Material Music Culture Learning In Madrasah Tsanawiyah 1 Semarang Samudera, Arief; Wadiyo, Wadiyo; Rachman, Abdul
Jurnal Seni Musik Vol 9 No 1 (2020): June 2020
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (451.028 KB) | DOI: 10.15294/jsm.v9i1.30339

Abstract

Based on data analysis can be concluded that the implementation of learning the art of music in class VII A MTs Negeri 1 Semarang using the approach of constructivism run organized, this is evidenced by learning already using model arrests have three stages are (a) presentation of advance organizer, educator provides an overview of the terms of supporting about music (b) the presentation of the material or the learning task, create discussion among students and evaluated by educators and (c) strengthen the cognitive organization, frequently asked questions and a deepening of the material. Learning implemented within 2x45 minutes with the distribution phase advance organizer presentation lasted 15 minutes, the stage presentation of the material or the learning task carried out within 60 minutes, and the stage of cognitive organization strengthen lasted 15 minutes. Suggestions can author to convey, among others: (1) educators should be able to take advantage of instructional media such as musical instruments and projectors which is owned schools maximally.
Development of Assessment Instrument for Singing Skills and Playing Musical Instrument for The Music Teacher Candidates of General Schools Utomo, Udi; Rachman, Abdul; Wafa, Mochammad Usman
Harmonia: Journal of Arts Research and Education Vol 19, No 2 (2019): December 2019
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.v19i1.23616

Abstract

The competences of music teacher candidates in teaching singing practice and playing a musical instrument are needed in the teaching-learning process at general schools. Hence, the process needs a comprehensive preparation for both competences. The objective of this study is to prepare an assessment instrument of singing practice and playing a musical instrument which is needed to assess the competences of music teacher candidates. The study used mix-method approach. The combination of qualitative and quantitative is required as the two methods are interrelated for both in the process of preparing assessment instruments and testing the instrument. The instruments consist of nine assignments. The six of which are the instruments for reading melodic and rhythmic notation and the other three instruments are to assess the skills to accompany songs. Based on the result, it can be found that the coefficient of instrument reliability is 0.817 in the type of consistency definition and 0.810 in the type of absolute agreement definitions. It can be concluded that the instrument made by using the analytic rubric of coefficient the reliability is better compared to the instrument made by a holistic rubric.
PERAN SEMARANG SKA FOUNDATION DALAM MENGEMBANGKAN MUSIK SKA DI KOTA SEMARANG Prasastiningtyas, Christianita Dyah; Rachman, Abdul
GETER Vol 4, No 1 (2021)
Publisher : Universitas Negeri Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26740/geter.v4n1.p91-104

Abstract

Semarang Ska Foundation adalah komunitas musik bergenre ska yang ada di kota Semarang. Sebagai upaya dalam mempertahankan eksistensi musik Ska di Kota Semarang, Semarang Ska Foundation melakukan beberapa aktifitas yang mengakomodasi perkembangan grup band Ska dan juga perkembangan musik itu sendiri. Tujuan penelitian ini adalah untuk mengetahui peran Semarang Ska Foundation dalam mengembangkan musik Ska di Kota Semarang. Penelitian ini menggunakan metode kualitatif, teknik pengumpulan data menggunakan observasi, wawancara, dan dokumentasi, sedangkan validitas data menggunakan metode triangulasi. Berdasarkan hasil penelitian, peran yang dilakukan Semarang Ska Foundation adalah dengan mengadakan event rutin berskala lokal, nasional, hingga international, mengadakan diskusi bersama seputar musik ska, coaching clinic atau pelatihan skill antar anggota, membuat official merchandise sebagai media promosi, memfasilitasi band ska kota Semarang dalam membuat konser peluncuran single maupun album, serta membentuk band Semarang Ska Allstar.
Bentuk Komposisi Musik Tradisional Balo-Balo Grup Kampung Tirang Di Kecamatan Tegal Barat Kota Tegal Iqbal, Muhammad Nur; Aesijah, Siti Aesijah; Rachman, Abdul
Jurnal Seni Musik Vol 9 No 2 (2020): December 2020
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jsm.v9i2.39205

Abstract

The purpose of this study was to determine the composition of the traditional music Balo-balo group of Kampung Tirang in Tegal City. The research approach used by the author is descriptive qualitative. The research location is in Murareja Village, West Tegal District, Tegal City. Data collection techniques in this case use observation, interview and documentation techniques. The source of the data that is the focus of the author is the chairman and personnel of the Tirang Village group, who are then analyzed using analysis techniques according to the basic framework that has been prepared. The results of the study indicate that the traditional Balo-balo music of the Kampung Tirang group is an art that uses a pitchbled membranophone musical instrument, namely kencer or tambourine, main drum, kempling, kempyang and gong tambourine. In the lyrics, the group uses the original Tegal language or deles dialect, for example in the song entitled "Balo-balo Pitutur". The song is a three part song. Whereas in the main elements of the music, the Kampung Tirang group emphasizes the rhythmic patterns of the game which are very visible but still form harmony. In the main melody, the song Balo-balo Pitutur uses the Tegalan style with elements of pentatonic scales. The songs of the Kampung Tirang group are packaged with a humorous or joking concept, so that the expression in the music is very active, energetic but still structured, even though the song structure does not use a symmetrical scheme in general, but uses a three-part symmetric theory.
Ngeroncongi And Ngepop : A Study Of Popular Song's Vocal Performance In Keroncong Music In Semarang Zilmi, Fauziatus; Rachman, Abdul; Muttaqin, Moh
Jurnal Seni Musik Vol 10 No 1 (2021): June, 2021
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jsm.v10i1.46812

Abstract

Keroncong Music is a music that has different character from other musics, including several techniques in vocal performance, such as luk, nggandul, embat, gregeland cengkok. Nowadays keroncong music does not only perform keroncong songs but also performs popular songs accompanied by keroncong music. When performing popular songs accompanied by keroncong music, usually the performance of each singer will be different. This study aims to determine how the vocal performance of popular songs in keroncong music. The research method used was qualitative. Data collection techniques used observation, interviews, and document study. The results showed that in performing pop songs with a slow tempo accompanied by keroncong music, the techniques used by keroncong singers tended to be Ngeroncongiwhich means that singers still use some keroncong singing techniques such as luk, nggandul, embat, gregel, and cengkokalthough the songs performed have pop genre. Whereas in performing pop songs in fast tempo that are accompanied by keroncong music, the techniques used by keroncong singers tend to pop (ngepop), which means the singers still show pop techniques and improvisation.
Percussion Pattern of Terebang Gede in Panggung Jati Studio, Panggung Jati Village, Serang Suhaya, Suhaya; Rachman, Abdul; Sinaga, Syahrul Syah; Alfayad, Dandi Musa
Harmonia: Journal of Arts Research and Education Vol 20, No 2 (2020): December 2020
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.v20i2.18067

Abstract

The characteristics of a region become an identity that is certainly inseparable from the noble values it adheres to, including religious values as the foundation for the formation of art of terebang gede in the Panggung Jati studio, Panggung Jati village, Serang, Banten. This study aims to describe the percussion patterns in the art of Terebang Gede both in text and context by using a qualitative paradigm with descriptive analytical methods. As a highlighted theory, ethnomusicology is used to analyze the existence of music in a culture, both from physical aspects and socio-cultural aspects. The data collection technique is done by interview, documentation study, and literature study. The data analysis stages are carried out in the order of data collection, data reduction, data organizing into a pattern, category, and description into basic descriptions that lead to the concluding process. The results showed that the percussion pattern of terebang gede is very simple. The percussion patterns on all existing musical instruments, such as the musical instrument of koneng, kempul, penganak (bibit), interlude, and bass (terebang gede), still follow the framework of the percussion “standard” which is hereditary from previous generations. Until now, this accompaniment without the development of rhythmic variations has been used to accompany syair or sholawat Al-Barzanjiwith with tones of Sundanese-style songs of the salendro type. Changes in accompaniment were not made because this performance was only performed on special occasions for Muslims to broadcast and support worship which was not intended as entertainment music.
A Comparative Study of Playing Patterns on Gambang and Ranat Ek Instruments Rachman, Abdul; Teangtrong, Pramot; Jirajarupat, Phakamas; Cahyono, Indrawan Nur
Harmonia: Journal of Arts Research and Education Vol 21, No 2 (2021): December 2021
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.v21i2.31037

Abstract

Gambang Semarang is one of Indonesia’s traditional music which has an instrument made of wood, namely gambang (xylophone). Thai Pi Phat Ensemble has a Gambang-like instrument called Ranat Ek. In the presentation, each of these instruments certainly has a playing pattern that is characteristic of the music itself. This study aims to identify and describe the pattern of traditional music playing in the Gambang Semarang, especially the Gambang instrument and the traditional music of Thai Pi Phat Ensemble, especially the Ranat Ek instrument. The research method used is qualitative with a musicological approach. Data collection techniques were carried out by using observation, interviews, document studies, and Focused Group Discussions. Data analysis was carried out with the stages of data reduction, data classification, and concluding. The results show that the playing pattern of the Gambang instrument in the Gambang Semarang music contains two types of playing patterns, namely sekaran Nglagu and cengkok ajeg. While the playing pattern of the Ranat Ek instrument in the Pi Phat Ensemble consists of kan ti kro, kan ti kep, kan ti siao mue, kan ti sado, and kan ti sabat. The two instruments have similarities and differences in playing patterns which are most likely due to differences in functions and roles in group play. 
PROSES BELAJAR MENYANYI KERONCONG MELALUI TRADISI LISAN DI SEMARANG Sabrina Firda Sokhiba; Abdul Rachman
JPKS (Jurnal Pendidikan dan Kajian Seni) Vol 6, No 1 (2021)
Publisher : Pendidikan Seni Drama Tari dan Musik, Universitas Sultan Ageng Tirtayasa

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30870/jpks.v6i1.10565

Abstract

Keroncong merupakan salah satu warisan budaya Indonesia yang harus diturunkan dari satu generasi ke generasi berikutnya. Pewarisan turun temurun yang sudah melekat di masyarakat ialah pewarisan secara lisan (tradisi lisan) baik bagi pemain maupun penyanyi keroncong dalam mempelajari lagu. Penelitian ini bertujuan untuk mengetahui bagaimana proses belajar menyanyi keroncong melalui tradisi lisan di Semarang. Metode penelitian yang digunakan adalah kualitatif. Teknik pengumpulan data menggunakan teknik observasi, wawancara, dan studi dokumen. Hasil penelitian menunjukkan bahwa  proses belajar menyanyi keroncong melalui tradisi lisan terdapat 2 kategori yaitu proses belajar hanya secara lisan dan proses belajar secara lisan namun juga membaca partitur. Proses belajar secara lisan efektif digunakan pada generasi zaman sekarang dan mendukung eksistensi musik keroncong agar tetap berkelanjutan. Namun terdapat kelemahan yaitu pada hasil pembawaan beberapa penyanyi tidak sesuai dengan partitur yang ada atau notasi kurang tepat.
Penciptaan Lagu Kroncong Berbasis Kearifan Lokal di Kota Semarang Abdul Rachman; Udi Utomo; Nur Asriyani
JPKS (Jurnal Pendidikan dan Kajian Seni) Vol 4, No 2 (2019)
Publisher : Pendidikan Seni Drama Tari dan Musik, Universitas Sultan Ageng Tirtayasa

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30870/jpks.v4i2.6857

Abstract

Abstract : The new Keroncong song is very rarely found in the community, especially in Semarang. This makes the development of Keroncong music a little hampered because the songs that are sung are old songs. This encourages researchers to create the song Keroncong by bringing the potential of local wisdom in Semarang. This article describes the process of creating Keroncong songs based on the local wisdom of Semarang. Based on the results of the study, the process of creating a Keroncong song entitled “Kr. Pesona Semarang” goes through several steps namely Content Ideas, exploration, improvisation, evaluation, composition. Through these steps the researcher succeeded in making a composition of the original Keroncong song by paying attention to the local wisdom of the city of Semarang, namely by combining the pentatonic slendro, pelog, and also the western scoring system. Abstrak : Lagu Keroncong yang baru sudah sangat jarang dijumpai di masyarakat khususnya di Semarang. Hal ini membuat perkembangan musik Keroncong sedikit terhambat karena lagu-lagu yang dibawakan merupakan lagu yang sudah lama. Hal ini mendorong peneliti untuk menciptakan lagu Keroncong dengan mengusung potensi kearifan lokal yang ada di Semarang. Artikel ini mendeskripsikan tentang proses penciptaan lagu Keroncong berbasis kearifan lokal kota Semarang. Berdasarkan hasil penelitian, proses dalam penciptaan lagu Keroncong yang berjudul Kr. Pesona Semarang melalui beberapa tahapan yaitu Gagasan Isi, ekslporasi, improvisasi, evaluasi, komposisi. Melalui tahapan-tahapan tersebut peneliti berhasil membuat sebuah komposisi lagu Keroncong asli dengan memperhatikan kearifan lokal kota semarang yaitu dengan mengkombinasikan sistem tangga nada pentatonic slendro, pelog, dan juga sistem tangga nada barat.
Co-Authors A'yun, Wildan Qurrata Aesijah, Siti Aesijah Aisyah Defy R. Simatupang Aldian Firmansah, Dede Alfayad, Dandi Musa Alvriza Mohammed Fadly Amelia, Virna Andhika Kurniawan Andri Setiyawan Andriyan Hendry Ole Aprianto, Muhammad Rafli Arkoyah, Siti Azfar, Adimas Akma Danish Azwar, Martavevi Badaru, Baharuddin Bambang Sumali Barasa, Larsen Berlina Bishri, Mochammad Hasan Caesar Octoviandy Purba Cahyono, Indrawan Nur Christianita Dyah Prasastiningtyas Citra Zahara, Ade Daggo, Daggo Alanta Dewa Dede Aldian Firmansyah Defy R. Simatupang, Aisyah Devananda Vincensius Siregar Dewi Kartika Dwi Nugroho Dwiputrianti, Septiana Effiyaldi, Effiyaldi Erwin Ferry Manurung Fandi Akhmad Ramadhani Fauziah Zahrotul Firdaus Bintang Cahyanti Giovanno Tara Yuliandi Harjono, Rakhmat Haura, Arie Heidiani Ikasari, Ines Hendrix Noviyanto F Henrieka, Yasmin Nabila HERI SUSANTO Hidayat, Hanif Hunafa, Kinanthi Wedhatu Husniyyah, Siti Ibnu Hajar Iqbal, Muhammad Nur Jamaludin, Nur Jirajarupat, Phakamas Julianti, Niken Juneiro Marudut Halomoan Bakkara Junian Budi Argo Karim, Salman Izudin Kasiono, Roy Kuswandi Kuswandi Laksono, Yonathan Lutfi Ramadhiansyah Markus Yando Manurung Maulida, Mesya Nurul Meizan Riza Arhamni Moh. Iqbal Mabruri Moh. Muttaqin Muchsin, Ibnu Amar Muhammad Afif Muhammad Nurdin Muizzudin Muizzudin Muizzudin, M. Muliya, Amma Muthi'ahfatin, Nabilah Muttaqin, Moh Nindyaningrum, Fitria Rasdiana Noor Ritawaty Nur Asriyani Nur Asriyani Pebriyanti, Dila Phakamas Jirajaruphat Pradika, Devita Anggun Pramot Teangtrong Prasastiningtyas, Christianita Dyah Prasetyo, Dimastito Puryani, Suci R. Ambar K. G. Raharjo, Aprellian Luthfi raharjo, eko raharjo Ramdan Satra Ridwan, Mochamad Ely Rimaza, July Rinaldhi Eka Kurnia Putra Rizky, Teguh Muhammad Rosmayana Rosmayana, Rosmayana S. Suharto Sabrina Firda Sokhiba Sahora Dina Pangesty Saidah, Andi Samudera, Arief Sangare, Bilaly Santi Pratiwi Tri Utami Santi Pratiwi, Santi Sapiri, Muhtar Sarwi Asri sasongko, wahyu sigit Septiawan, Fery Setiawan, Adil Setiyati, Siti Nur Simatupang, Aisyah Defy R. Slamet Haryono SRI RAHAYU Suardi, Didi Suhaya Suhaya, Suhaya Sukariyono, Dedi Sunarto Sunarto Suparman Suparman Surya Hendra Susi Herawati Syahrul Syah Sinaga Syahrul Syah Sinaga Tara Yuliandi, Giovanno Teangtrong, Pramot Thalib, Hambali Tiara Meilinda Tri Cahyadi Udi Utomo Udi Utomo Udi Utomo Umasangadji, Fahmi Usready, Risma Febby Ayu Utami, Indriani Wadiyo Wadiyo wafa, mochammad usman Wahid, Ahmad Wahyu Lestari Wahyu Lestari Widodo Widodo Widya Aryadi Yayah Zakiah Yus Rizal Muhammad Yuspandi, Parhan Zahrotul Fauziah Zilmi, Fauziatus