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All Journal Harmonia: Journal of Research and Education Indonesian Journal of Conservation Islam Futura Jurnal Pendidikan dan Kajian Seni Asy-Syir'ah: Jurnal Ilmu Syari'ah dan Hukum JURISDICTIE Jurnal Hukum dan Syariah Catharsis MUDRA Jurnal Seni Budaya Gondang: Jurnal Seni dan Budaya Pendas : Jurnah Ilmiah Pendidikan Dasar ILKOM Jurnal Ilmiah Jurnal Ilmiah Mandala Education (JIME) JSM (Jurnal Seni Musik) JURNAL KAJIAN TEKNIK MESIN EkBis: Jurnal Ekonomi dan Bisnis JAMIN : Jurnal Aplikasi Manajemen dan Inovasi Bisnis Dinasti International Journal of Digital Business Management GETER : Jurnal Seni Drama, Tari dan Musik Virtuoso: Jurnal Pengkajian dan Penciptaan Musik Clef: Jurnal Musik dan Pendidikan Musik Varia Humanika JEBDEKER: Jurnal Ekonomi, Manajemen, Akuntansi, Bisnis Digital, Ekonomi Kreatif, Entrepreneur Journal of Islamic Economic and Business Research CITIZEN: Jurnal Ilmiah Mulitidisiplin Indonesia 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 el-Buhuth: Borneo Journal of Islamic Studies Jurnal Penelitian Musik JAPI: Jurnal Akses Pengabdian Indonesia International Journal of Advanced Multidisciplinary al-Mawarid Jurnal Syariah dan Hukum (JSYH) 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 Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik
Abdul Rachman
Unknown Affiliation
Religion Aerospace Engineering Agriculture, Biological Sciences & Forestry Arts Humanities Astronomy Automotive Engineering Chemistry Computer Science & IT Control & Systems Engineering Decision Sciences, Operations Research & Management Earth & Planetary Sciences Economics, Econometrics & Finance Education Electrical & Electronics Engineering Energy Environmental Science Health Professions Industrial & Manufacturing Engineering Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Mathematics Mechanical Engineering Neuroscience Nursing Physics Public Health Social Sciences Other

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OK SEBA Keroncong Reinterpretation in Digital Space: Repertoire & Arrangement Strategies Natanael Dwi Kusbayudana; Abdul Rachman
Virtuoso: Jurnal Pengkajian dan Penciptaan Musik Vol. 9 No. 1 (2026)
Publisher : Universitas Negeri Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26740/vt.v9n1.p103-125

Abstract

The rapid development of digital media has transformed the ways music is produced, distributed, and consumed, requiring traditional music genres, including keroncong, to adapt to contemporary trends and audience behaviors across digital platforms. This phenomenon is exemplified by OK SEBA (Orkes Keroncong SEBA), which actively reinterprets popular songs through repertoire adaptation and arrangement strategies to engage broader audiences. This study aims to analyze OK SEBA's performance practices in the digital space and examine the strategies employed in adapting its repertoire and musical arrangements. A qualitative research design with a case study approach and musicological analysis was employed. Data were collected through participant observation, in-depth interviews, and document analysis. The findings reveal that OK SEBA's reinterpretation of keroncong music in the digital space is realized through the adaptation of repertoire and musical arrangements. Repertoire adaptation involves combining currently trending popular songs with nostalgic classics to appeal to diverse audience segments. Arrangement strategies include the transformation of instrumentation, melodic elaboration, musical intertextuality, and the reconstruction of rhythmic patterns while preserving the original identity of each song within the aesthetic idiom of keroncong. These findings suggest that the sustainability of keroncong music in the digital era depends on musicians' ability to creatively reinterpret musical works without compromising the genre's traditional identity.
Pendekatan Fenomenologi Makna Simbolik dalam Lirik Lagu “Di Akhir Perang” Nadin Amizah di Kalangan Generasi Milenial Alif kurnia Putra; Abdul Rachman; Antonius Edi Nugroho
Clef: Jurnal Musik dan Pendidikan Musik Vol. 6 No. 2 (2025): Clef: Jurnal Musik dan Pendidikan Musik
Publisher : Institut Agama Kristen Negeri Manado

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.51667/cjmpm.v6i2.2706

Abstract

Penelitian ini bertujuan untuk mengidentifikasi dan menganalisis makna simbolik yang terkandung dalam lirik lagu “Di Akhir Perang” karya Nadin Amizah, serta bagaimana generasi milenial menginterpretasikan lagu ini sebagai refleksi batin, identitas, dan situasi sosial yang mereka alami. Pendekatan kualitatif dengan analisis fenomenologi digunakan untuk menggali pengalaman subjektif pendengar, terutama milenial, dalam memahami simbolisme dalam lirik lagu tersebut. Data dikumpulkan melalui wawancara mendalam dengan individu-individu dari kalangan milenial yang memiliki keterkaitan emosional dengan lagu ini. Hasil analisis menunjukkan bahwa lagu ini berfungsi sebagai media refleksi diri, yang menghubungkan konflik internal dan pencarian makna hidup dalam dunia yang penuh ketidakpastian. Melalui simbolisme “perang” dan “menang”, lirik lagu ini menggambarkan perjuangan batin dan perjalanan menuju kedamaian serta penerimaan diri. Penelitian ini juga menyoroti bagaimana lagu ini memperkuat identitas sosial dan emosional milenial, serta menjadi sarana untuk berbagi pengalaman dan membangun solidaritas kolektif di tengah tantangan sosial yang mereka hadapi.
PENGEMBANGAN MEDIA WORDWALL DALAM MENINGKATKAN PEMAHAMAN BELAJAR IPAS KELAS IV-D SDN SUKO Ilma, Fira Zahrotul; Julianto, Julianto; Rachman, Abdul
Pendas : Jurnal Ilmiah Pendidikan Dasar Vol. 9 No. 2 (2024): Volume 09 No. 2 Juni 2024
Publisher : Program Studi Pendidikan Guru Sekolah Dasar FKIP Universitas Pasundan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23969/jp.v9i2.13296

Abstract

This research aims to determine the contribution of wordwall media in science learning to students' understanding. The type of research used is classroom action research with the Kemmis and Taggart model research design. The subjects of this research were 27 students in class IV-D at SDN Suko. Data collection techniques are carried out using tests. The data collection instruments in this research are observation, interviews and documentation. Data were analyzed using quantitative descriptive techniques. The results of the pre-cycle research were 18.51% of students who had completed it and 81.49% of students who had not completed it. In cycle I, the research results showed that 62.96% of students had completed and 37.08% of students had not completed. In cycle II the research results showed that 85.18% of students had completed and 14.82% of students had not completed. Wordwall media is said to be successful in increasing students' learning understanding if at least 75% of students have completed the learning objective completeness criteria (KKTP) of 70. Thus, the results of this research show that the use of wordwall media can improve learning understanding of students in class IV-D at SDN Suko.
PENINGKATAN HASIL BELAJAR MATEMATIKA MELALUI MEDIA SNAKES AND LADDERS MISSION KELAS 5 SD Fitri Zakiya Nur Rachma, Fitri; Abdul Rachman; Julianto
Pendas : Jurnal Ilmiah Pendidikan Dasar Vol. 9 No. 2 (2024): Volume 09 No. 2 Juni 2024
Publisher : Program Studi Pendidikan Guru Sekolah Dasar FKIP Universitas Pasundan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23969/jp.v9i2.15140

Abstract

This research intends to improve learning outcomes through the interactive media Snakes and Ladders Mission to improve the learning outcomes of grade 5 students at SDN Suko in Mathematics learning. The sort of research is PTK (Classroom Action Research) utilizing the Kurt Lewin paradigm. The instruments of this research are observation, tests and documentation. The results of this research were the percentage rise in completion results from pre-cycle 32.14% to 60.71% in cycle I and increased in cycle II by 85.71%. So this research was done in two cycles. which falls into the very good criteria. Thus, this study was finished in two cycles. There is an increase in learning outcomes with the Snakes and Ladders Mission media in grade 5 Mathematics instruction at SDN Suko.
Analysis of the Rhythmic Accents of the Drum Instrument in the Song 'Mendung Tanpo Udan' Composed by Kukuh Prasetya Yonathan Laksono; Abdul Rachman
Jurnal Penelitian Musik Vol 6 No 2 (2025): Jurnal Penelitian Musik
Publisher : Program Studi Pendidikan Musik

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21009/JurnalPenelitianMusik.62.01

Abstract

This study aims to Analysis of the Rhythmic Accents of the Drum Instrument in the Song 'Mendung Tapi Udan' by Kukuh Prasetya, as a key element in shaping the musical character of the dangdut ambyar genre. Background/Purpose of this research lies in the lack of in-depth studies on rhythmic fill-ins in drums, which significantly influence the musical atmosphere and identity of this genre.This research/Method employs a descriptive qualitative approach, with data collection techniques including observation, semi-structured interviews, and documentation. The data were analyzed through rhythmic transcription of the patterns found in the song.The results identify four rhythmic fill-in patterns, namely Pattern A, B, C, and D. These patterns combine quarter and eighth notes, emphasizing downbeats and upbeats that recur in specific sections of the song. These patterns contribute to building the energy, dynamics, and musical structure of the composition.Conclusions the drum fill-in technique not only reinforces the rhythmic elements but also serves as a distinctive marker of dangdut ambyar, differentiating it from other dangdut subgenres. These findings are expected to enrich the study of Indonesian popular music and support the continuity of dangdut as a traditional music genre that adapts to modern developments.  
The Variety of Cello Playing Styles in the Keroncong Community in Pacitan Adimas Akma Danish Azfar; Abdul Rachman
Jurnal Penelitian Musik Vol 6 No 2 (2025): Jurnal Penelitian Musik
Publisher : Program Studi Pendidikan Musik

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21009/JurnalPenelitianMusik.62.04

Abstract

The cello is a musical instrument that plays a vital and distinctive role in the keroncong music ensemble, primarily as a rhythm keeper during the performance. Nowadays, the way the cello is played in keroncong seems to have evolved. Many young artists are now trying to develop their playing style in new directions, such as by adapting it to other music genres. This indicates that playing the cello in keroncong is not static but continues to evolve alongside changing musical tastes, advancements in technology, and socio-cultural factors, leading to a variety of playing styles among its musicians. The keroncong community in Pacitan experienced this same trend: artists from different generations interact, blend, and create diverse playing styles. This study aims to identify the various cello playing styles within the keroncong music community in Pacitan. The research method is qualitative, employing a musicology approach. Data were collected through observation, interviews, and document review, with data triangulation used for analysis. The findings show that keroncong cello playing goes beyond traditional practices, shaped by social experiences, cross-genre influences, and each artist's role in the local keroncong scene. The study concludes that keroncong cello styles are varied, reflecting each artist's musical interpretation and evolving according to socio-cultural changes.
Kombinasi Harmonisasi Stambul I dan Langgam dalam Lagu “Keroncong Pertemuan” Karya Koes Plus Satria Galih Samodra; Abdul Rachman
Jurnal Penelitian Musik Vol 7 No 2 (2026): Jurnal Penelitian Musik (Issue in Progress)
Publisher : Program Studi Pendidikan Musik

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21009/JurnalPenelitianMusik.72.01

Abstract

This research is motivated by the emergence of the keroncong pop genre carried by the 1970s band pioneered by Koes Plus with the song "Keroncong Pertemuan". This study aims to examine the song form and harmony of the song "Keroncong Pertemuan". This research was conducted using a qualitative method with a musicology approach that allows for an in-depth study of the song form and harmony of the song "Keroncong Pertemuan".The research findings show that the song "Keroncong Pertemuan" by Koes Plus consists of 32 bars and has a 2-part form, namely A-A'-B-A. The harmony uses a combination of stambul I and langgam forms, where the harmony of stambul I form is used in sentences A and A', while the harmony of langgam form is taken from sentence B and used in sentence B of the song "Keroncong Pertemuan". As a whole, the song tends towards the langgam form, but the initial part applies the stambul I form. The song "Keroncong Pertemuan" by Koes Plus, which applies a combination of harmonizing stambul I and langgam forms, is an innovation in the new form of keroncong music offered by Koes Plus. It is hoped that through this step, keroncong music can continue to develop without having to be fixated on standard rules. Keywords: harmony, stambul I, langgam, keroncong pop, Koes Plus.
Analysis of the Rhythmic Accents of the Drum Instrument in the Song 'Mendung Tanpo Udan' Composed by Kukuh Prasetya Yonathan Laksono; Abdul Rachman
Jurnal Penelitian Musik Vol 6 No 2 (2025): Jurnal Penelitian Musik
Publisher : Program Studi Pendidikan Musik

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21009/JurnalPenelitianMusik.62.01

Abstract

This study aims to Analysis of the Rhythmic Accents of the Drum Instrument in the Song 'Mendung Tapi Udan' by Kukuh Prasetya, as a key element in shaping the musical character of the dangdut ambyar genre. Background/Purpose of this research lies in the lack of in-depth studies on rhythmic fill-ins in drums, which significantly influence the musical atmosphere and identity of this genre.This research/Method employs a descriptive qualitative approach, with data collection techniques including observation, semi-structured interviews, and documentation. The data were analyzed through rhythmic transcription of the patterns found in the song.The results identify four rhythmic fill-in patterns, namely Pattern A, B, C, and D. These patterns combine quarter and eighth notes, emphasizing downbeats and upbeats that recur in specific sections of the song. These patterns contribute to building the energy, dynamics, and musical structure of the composition.Conclusions the drum fill-in technique not only reinforces the rhythmic elements but also serves as a distinctive marker of dangdut ambyar, differentiating it from other dangdut subgenres. These findings are expected to enrich the study of Indonesian popular music and support the continuity of dangdut as a traditional music genre that adapts to modern developments.  
The Variety of Cello Playing Styles in the Keroncong Community in Pacitan Adimas Akma Danish Azfar; Abdul Rachman
Jurnal Penelitian Musik Vol 6 No 2 (2025): Jurnal Penelitian Musik
Publisher : Program Studi Pendidikan Musik

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21009/JurnalPenelitianMusik.62.04

Abstract

The cello is a musical instrument that plays a vital and distinctive role in the keroncong music ensemble, primarily as a rhythm keeper during the performance. Nowadays, the way the cello is played in keroncong seems to have evolved. Many young artists are now trying to develop their playing style in new directions, such as by adapting it to other music genres. This indicates that playing the cello in keroncong is not static but continues to evolve alongside changing musical tastes, advancements in technology, and socio-cultural factors, leading to a variety of playing styles among its musicians. The keroncong community in Pacitan experienced this same trend: artists from different generations interact, blend, and create diverse playing styles. This study aims to identify the various cello playing styles within the keroncong music community in Pacitan. The research method is qualitative, employing a musicology approach. Data were collected through observation, interviews, and document review, with data triangulation used for analysis. The findings show that keroncong cello playing goes beyond traditional practices, shaped by social experiences, cross-genre influences, and each artist's role in the local keroncong scene. The study concludes that keroncong cello styles are varied, reflecting each artist's musical interpretation and evolving according to socio-cultural changes.
Kombinasi Harmonisasi Stambul I dan Langgam dalam Lagu “Keroncong Pertemuan” Karya Koes Plus Satria Galih Samodra; Abdul Rachman
Jurnal Penelitian Musik Vol 7 No 2 (2026): Jurnal Penelitian Musik (Issue in Progress)
Publisher : Program Studi Pendidikan Musik

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21009/JurnalPenelitianMusik.72.01

Abstract

This research is motivated by the emergence of the keroncong pop genre carried by the 1970s band pioneered by Koes Plus with the song "Keroncong Pertemuan". This study aims to examine the song form and harmony of the song "Keroncong Pertemuan". This research was conducted using a qualitative method with a musicology approach that allows for an in-depth study of the song form and harmony of the song "Keroncong Pertemuan".The research findings show that the song "Keroncong Pertemuan" by Koes Plus consists of 32 bars and has a 2-part form, namely A-A'-B-A. The harmony uses a combination of stambul I and langgam forms, where the harmony of stambul I form is used in sentences A and A', while the harmony of langgam form is taken from sentence B and used in sentence B of the song "Keroncong Pertemuan". As a whole, the song tends towards the langgam form, but the initial part applies the stambul I form. The song "Keroncong Pertemuan" by Koes Plus, which applies a combination of harmonizing stambul I and langgam forms, is an innovation in the new form of keroncong music offered by Koes Plus. It is hoped that through this step, keroncong music can continue to develop without having to be fixated on standard rules. Keywords: harmony, stambul I, langgam, keroncong pop, Koes Plus.
Co-Authors A'yun, Wildan Qurrata Adimas Akma Danish Azfar Aesijah, Siti Aesijah Aisyah Defy R. Simatupang Aldian Firmansah, Dede Alfayad, Dandi Musa Alif kurnia Putra Alvriza Mohammed Fadly Amelia, Virna Andhika Kurniawan Andri Setiyawan Andriyan Hendry Ole Antonius Edi Nugroho Aprianto, Muhammad Rafli Arkoyah, Siti Azwar, Martavevi Badaru, Baharuddin Bambang Sumali Berlina Bilaly Sangare Billah, Sasa Bishri, Mochammad Hasan Caesar Octoviandy Purba Cahyono, Indrawan Nur Christianita Dyah Prasastiningtyas Citra Zahara, Ade Daggo Alanta Dewa Daggo 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 Fitri Zakiya Nur Rachma, Fitri Fitriana, Muhammad Azizan Giovanno Tara Yuliandi Harjono, Rakhmat Haura, Arie Heidiani Ikasari, Ines Hendra, Surya Hendrix Noviyanto F Henrieka, Yasmin Nabila HERI SUSANTO Hidayat Hidayat, Hanif Hunafa, Kinanthi Wedhatu Husniyyah, Siti Ibnu Hajar Ilma, Fira Zahrotul Iqbal, Muhammad Nur jannah, lailatul Jirajarupat, Phakamas Julianti, Niken JULIANTO Juneiro Marudut Halomoan Bakkara Junian Budi Argo Karim, Salman Izudin Kasiono, Roy Kurniawan, Susetya Kukuh Larsen Barasa Lukman Santoso Lutfi Ramadhiansyah Markus Yando Manurung Maulida, Mesya Nurul Meizan Riza Arhamni Moh. Iqbal Mabruri Moh. Muttaqin Muchsin, Ibnu Amar muhammad afif Muhammad Nurdin Muliya, Amma Muthi'ahfatin, Nabilah Muttaqin, Moh NANIK INDAHWATI Natanael Dwi Kusbayudana Nindyaningrum, Fitria Rasdiana Nur Asriyani Nur Asriyani Nurwijayanti 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 Rahmawati, Elis Ramdan Satra Ridwan, Mochamad Ely Rimaza, July Rinaldhi Eka Kurnia Putra Risyda Nurul Qolbi Ritawaty, Noor 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 Satria Galih Samodra Septiawan, Fery Setiawan, Adil Setiyati, Siti Nur Shofiah Tidjani Simatupang, Aisyah Defy R Simatupang, Aisyah Defy R. Slamet Haryono Suardi, Didi Suhaya Suhaya, Suhaya Sukamto, Ika Sumiyarsi Sukariyono, Dedi Sunardi Sunardi Sunarto Sunarto Suparman Suparman Surawan, Agus Susi Herawati Syahrul Syah Sinaga Syahrul Syah Sinaga Syamsiar, Syamsiar Tamara Devi, Sri Tara Yuliandi, Giovanno Teangtrong, Pramot Thalib, Hambali Tiara Meilinda Tri Cahyadi Udi Utomo Udi Utomo Udi Utomo Ulpah, Mariya Umasangadji, Fahmi Usready, Risma Febby Ayu Utami, Indriani Wadiyo Wadiyo wafa, mochammad usman Wahid, Ahmad Wahyu Lestari Wahyu Lestari Widi Astuti Widodo Widodo Widya Aryadi Yayah Zakiah Yonathan Laksono Yus Rizal Muhammad Yuspandi, Parhan Zahrotul Fauziah Zilmi, Fauziatus