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All Journal Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) PROMUSIKA: Jurnal Pengkajian, Penyajian, dan Penciptaan Musik SURYA SENI Saraswati IJCAS (International Journal of Creative and Arts Studies) Jurnal Ilmiah Peuradeun Journal of Music Science, Technology, and Industry (JOMSTI) IDEA: Jurnal Seni Pertunjukan
Singgih Sanjaya
Institut Seni Indonesia Yogyakarta
Religion Arts Humanities Education Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Social Sciences Other

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Pola Irama Keroncong Progresif - Pada Komposisi Kidung Panyuwun Singgih Sanjaya
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 22, No 1 (2021): April 2021
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v22i1.4620

Abstract

AbstractThis research creates a progressive or innovative keroncong rhythm pattern. Keroncong music is one of the musical genres that exist in Indonesia, which is a hybrid music from Javanese (Central Java and Yogyakarta) gamelan music, 'pop' music and Western diatonic orchestras. Keroncong music consists of vocals, ukulele or 'cuk' (derived from Hawai'i), 'cak' (Portugal), flute, violin, cello, and contrabass (instruments derived from Western diatonic orchestral instruments). Since the 1950s until today, the keroncong rhythm pattern has had very little development, so it needs to be developed. There are several rhythm patterns in keroncong music but the ones that are often played are 'engkel' and 'double' rhythm patterns. The aim of this research is to create a progressive keroncong rhythm pattern so that keroncong music is more interesting and it is hoped that it will have more fans. The creation of this progressive rhythm pattern is used in the compositions of the author's Kidung Panyuwun. This study used descriptive and experimental analytical methods with the following steps. First, examine the audio recording, transcribe, analyze, and conclude; second analyzes rhythm patterns on multiple references; the third records (audio-video) a 'standard' rhythm pattern; fourth, exploration of progressive rhythm patterns; the fifth recorded a progressive keroncong rhythm pattern. This research resulted in the creation of several rhythmic patterns and several formulations, namely: 1) the creation of a vertical progressive keroncong rhythm pattern (one-instrument solo, two-instrument solo, three-instrument solo) and 2) the creation of a horizontal progressive keroncong rhythm pattern (two-bar pattern and four-dimensional pattern). time frame). The important thing that has the meaning is the temuah cirikhas or 'ruh' keroncong music as the 'jati diri'.Keywords: rhythm; pattern; keroncong; progressive AbstrakPenelitian ini menciptakan pola irama keroncong progresif atau inovatif. Musik keroncong merupakan salah satu genre musik yang ada di Indonesia merupakan musik hibrid dari karawitan Jawa (Jawa Tengah dan Yogyakarta), musik ‘pop’ dan orkestra diatonis Barat. Musik keroncong terdiri dari vokal, ukulele atau ‘cuk’ (berasal dari Hawai’i), ‘cak’ (Portugal), flute, biola, cello, dan contrabass (merupakan instrumen-instrumen yang berasal dari instrumen orkestra diatonis Barat).  Sejak tahun 1950-an sampai hari ini, pola irama keroncong sedikit sekali perkembangannya sehingga perlu dikembangkan. Ada beberapa pola irama dalam musik keroncong tetapi yang sering dimainkan hanya pola irama ‘engkel’ dan ‘dobel’. Tujuan penelitian ini untuk menciptakan pola irama keroncong progresif sehingga musik keroncong lebih menarik dan diharapkan lebih banyak penggemarnya. Penciptaan pola irama progresif ini digunakan pada komposisi Kidung Panyuwun ciptaan penulis.  Penelitian ini menggunakan metode analitik deskriptif  dan eksperimental dengan lankah-langkah sebagai berikut. Pertama mencermati rekaman audio, mentranskrip, menganalisis, dan menyimpulkan; kedua menganalisis pola irama pada beberapa referensi; ketiga merekam (audio-video) pola irama ‘pakem’; keempat eksplorasi pola irama progresif; kelima merekam pola irama keroncong progresif. Penelitian ini menghasilkan beberapa ciptaan pola irama dan beberapa formulasi, yaitu: 1) penciptaan pola irama keroncong progresif vertikal (solo satu instrumen, solo dua instrumen, solo tiga instrumen) dan 2) penciptaan pola irama keroncong progresif horizontal (pola dua birama dan pola empat birama). Hal penting yang bermakna adalah temuah cirikhas atau’ruh’ musik keroncong sebagai ‘jatidiri’nya.Kata kunci: pola irama; keroncong; progresif
Kinanthi untuk Solo Gendèr dan Orkestra Singgih Sanjaya
SURYA SENI Vol 3, No 2: September 2007
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/pasca.v3i2.74

Abstract

Kinanthi adalah sebuah judul komposisi musik, yang merupakan eksperimentasi penciptaan komposisi untuk gendèr solo dan orkestra.Dalam karya ini dilakukan dua eksperimentasi, yang pertama penalaan gendèr barung (gendèr besar) ke sistem tangga nada diatonis (musik Barat), dan yang kedua memfungsikan instrumen gendèr sebagai instrumen solo, yang berarti instrumen utama yang diiringi orkestra.Salah satu konsep yang harus dipahami dalam proses penciptaan ini adalah memahami kaidah-kaidah dan elemen-elemen musik dan gamelan. Tulisan ini akan sedikit membahas mengenai hal tersebut.Kata kunci: gendèr, orkestra, eksperimen.
Teknik Double Tounging dalam Sonata for Flute and Piano Karya Francis Poulenc Mr. MEI ARTANTO , SINGGIH SANJAYA, ERITA ROHANA SITORUS
Saraswati Jurnal Mahasiswa Seni Musik
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/srs.v0i0.302

Abstract

Double tounging is one of playing techniques on the flute which emphasizes on the use of a double tongue which have meaning movement of the tongue interchangeably between the front and back of the tongue. Setting the tongue movement which stable and orderly between the front and back of the tongue when blowing the flute be a key principal to produce a good quality of double tounging in producing sound. This technique is a technique commonly used in the flute especially in playing staccato articulation that fast-paced so as a flute player with a standard skilled of the intermediate level should be able to lord those techniques. Not a bit of repertoire can apply double tounging in play with it, such as the Sonata for flute and piano works of Francis Poulenc. In these works there are parts using the technique double tounging in play when mastering single tonguing have segregated to the maximum speed of the tongue movement. With patience, accuracy, use a good method and practicing regularly and effective be the primary key in mastering technique of double tounging correctly and well. Key words : Double tounging technique, sonata, Francis Poulenc.
New Composition Concept for Keroncong Music in the Oboe Concerto with Keroncong and Orchestra Singgih Sanjaya
IJCAS (International Journal of Creative and Arts Studies) Vol 5, No 2 (2018): December 2018
Publisher : Graduate School of Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ijcas.v5i2.2413

Abstract

this research aims to design a new concept in keroncong music creation with an explorative method. Keroncong is one kind of entertainment musics in indonesia that has a long existece and evolved up to today. Keroncong music is a musical mixture of a western diatonic music with Javanese gamelan music. the term of keroncong comes from the sound “...crong crong crong...” on the ukulele instrument that played rasquardo. an instrumentation music consists of: vocals, violin, flute, cak, cuk, cello, guitar, and bass. during this moment, keroncong is basically just served as a vocal accompaniment music. this becomes a driving force for the author to compose a special composition for keroncong music solo instrument. there is a new concept used in the arranging of this composition, as follows. this composition is designing a concerto, which is a type of the instrumental musics with a western diatonic instrument on the part-one of the solo oboe and an English horn in part-two, with keroncong music and orchestra. the conclusion of these designs are as follows. Keroncong music will be able to stand on its own as an instrumental music.
PENERAPAN IMPROVISASI SAKSOFON TENOR MENGGUNAKAN PENDEKATAN CHORDAL DAN MODAL PADA LAGU STABLEMATES KARYA BENNY GOLSON Yosua Eriko Murti Setiawan; Singgih Sanjaya; H. Mulyadi Cahyoraharjo
IDEA: Jurnal Ilmiah Seni Pertunjukan Vol 17, No 2 (2023): Vol 17, No 2 (2023)
Publisher : Institut Seni Indonesia Yogyakarta

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Abstract

Karya tulis ini berjudul “Penerapan Konsep Improvisasi Saksofon Tenor Menggunakan Pendekatan Chordal Dan Modal Pada Lagu Stablemates Karya Benny Golson.” Menjadi musisi jazz, improvisasi merupakan hal yang wajib untuk dipelajari. Meskipun dalam berimprovisasi dilakukan secara spontan, akan tetapi seorang improvisator harus memiliki pemahaman tentang isi dari improvisasi yang akan dimainkan. Dalam mempelajari improvisasi ada beberapa faktor yang perlu diketahui oleh musisi. Seorang musisi perlu mengetahui bentuk lagu, jenis chord yang digunakan, chord progression, dan tangga nada (scale modal). Penulisan ini ditujukan untuk pemain saksofon lain untuk memiliki pedoman dalam berimprovisasi dengan pendekatan chordal dan modal. Penelitian ini menggunakan metode kualitatif dengan proses yang dilakukan melalui pengumpulan data, wawancara, video, audio, analisis, eksplorasi, dan penerapan. Dalam permainan improvisasi, konsep pendekatan chordal dan modal dapat diolah secara bersamaan dalam satu chord. THE APPLICATION OF TENOR SAXOPHONE IMPROVISATION USING CHORDAL AND MODAL APPROACHES TO BENNY GOLSON STABLEMATES SONGThis paper is entitled "The Application of the Tenor Saxophone Improvisation Concept Using Chordal and Modal Approaches to Benny Golson's Stablemates Song." As a jazz musician, improvisation is a must. Even though improvisation is done spontaneously, it would be better if an improviser had an understanding of the content of the improvisation to be played. In learning improvisation, there are several factors that musicians need to know. A musician needs to know the form of the song, the types of chord used, the chord progression, and the scale (modal scale). This writing is intended for other saxophonists to have guidelines for improvising with chordal and modal approaches. This study uses a qualitative method with a process carried out through data collection, interviews, video, audio, analysis, exploration, and application. In improvisational games, the concepts of chordal and modal approaches can be processed simultaneously in one chord.
PENERAPAN KONSEP IMPROVISASI SAKSOFON ALTO MIKE BURTON PADA LAGU FUCK JULLIARD YOU DIG (FJYD) KARYA BRAXTON COOK ananda putra; Singgih Sanjaya; H. Mulyadi Cahyoraharjo
IDEA: Jurnal Ilmiah Seni Pertunjukan Vol 17, No 2 (2023): Vol 17, No 2 (2023)
Publisher : Institut Seni Indonesia Yogyakarta

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Abstract

Karya tulis ini membahas tentang penerapan konsep improvisasi saksofon alto Mike Burton pada lagu FJYD karya Braxton Cook. Tidak jarang seorang musisi menggunakan indra perasaannya untuk berimprovisasi, yang tentunya berakhir pada kebuntuan dalam berkreativitas. Salah satu cara terbaik untuk berlatih dan memahami improvisasi adalah dengan menganalisis permainan jazz. Lagu Fuck Julliard You Dig (FJYD) adalah sebuah karya instrumental dari Braxton Cook dalam album Braxton Cook Meets Butcher Brown yang bergenre jazz fusion. Metode penelitian ini menggunakan metode kualitatif dengan melalui beberapa proses penelitian, yaitu: mencari topik, pengumpulan data, transkrip, analisa, eksplorasi, tambahan aransemen, latihan, penerapan, dan menarik kesimpulan. Berdasarkan hasil yang ditemukan, Burton memiliki ciri khas dalam menginterpretasikan lagu dan improvisasi dengan menggunakan tangga nada mayor pentatonik, minor pentatonik, whole tone, blues scale, grace notes. Selain itu, Burton memiliki tone quality yang tebal dan bright serta pengolahan melodi dengan pendekatan akor yang dirangkai menjadi lick yang melodius. Sebagian besar konsep improvisasi telah berhasil diterapkan, meliputi beberapa tangga nada dan teknik di atas, namun secara kualitas dan presentasi masih mendekati yang diharapkan dan belum sempurna seperti Burton. Kata Kunci : Penerapan, Konsep, Improvisasi, Mike Burton, FJYD 
Penerapan Harmoni Extended Dalam Aransemen Piano Jazz Pada Lagu Rungkad Karya Vicky Prasetyo Tsabitul Azmi; Josias T Adriaan; R.M. Singgih Sanjaya
IDEA: Jurnal Ilmiah Seni Pertunjukan Vol 18, No 1 (2024)
Publisher : Institut Seni Indonesia Yogyakarta

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Abstract

Penelitian ini membahas mengenai penerapan harmoni extended dalam aransemen piano jazz pada lagu Rungkad karya Vicky Prasetyo. Penelitian ini bertujuan untuk membantu musisi terutama pianis agar memiliki wawasan baru dalam hal pemahaman serta kemampuan mengenai teknik harmoni extended dengan menerapkannya ke dalam contoh lagu dengan pola ritme dangdut yang diaransemen menjadi bossanova. Penelitian ini menggunakan metode kualitatif, teknik yang digunakan adalah harmoni extended. Proses untuk meneliti mengenai penerapan harmoni extended dalam aransemen piano jazz pada lagu Rungkad ini dengan mengumpulkan berbagai jurnal, diskografi data yang ingin diteliti dan berbagai buku jazz. Teknik eksplorasi yang ingin diteliti dengan mencoba berbagai nada-nada hingga menemukan nada yang tepat, agar suara yang dihasilkan terdengar selaras. Hasil penelitian mengenai teknik harmoni extended menunjuk pada susunan akor dasar yang berisi 3 nada ditambah nada lain yang diambil dari nada ke 7, 9, 11 atau 13 disesuaikan dengan prinsip keselarasannya menjadi suatu lagu yang berbeda yang disebut extended chord. Konsep harmoni extended ini bisa menjadi gambaran sekaligus acuan bagi para musisi pada saat membuat lagu, agar lagu yang ingin dihasilkan terdengar lebih kaya dan tidak monoton. Berbagai masalah teknis dapat dikuasai melalui pemahaman akan berbagai pengetahuan teoritis musik menyangkut struktur akor, progresi akor, serta latihan secara konsisten.kata kunci: teknik, harmoni extended, Rungkad This research discusses the application of extended harmony in jazz piano arrangement on the song Rungkad by Vicky Prasetyo. This research aims to help musicians, especially pianists, to have new insights in terms of understanding and abilities regarding extended harmony techniques by applying them to song examples with dangdut rhythm patterns arranged into bossanova. This research uses qualitative methods, the technique used is extended harmony, the process of researching the application of extended harmony in the jazz piano arrangement of the song Rungkad is by collecting various journals, discography of the data to be researched, and various jazz books. Exploratory techniques to be researched by trying out various tones until you find the right notes, so that the sound produced sounds is aligned. The results of research on extended harmony techniques point to the arrangement of basic chords containing 3 notes plus other notes taken from the 7th, 9th, 11th, or 13th notes adjusted to the principle of harmony into a different song called an extended chord. This concept can be a picture as well as a reference for musicians when making songs so that the songs they want to produce sound richer and not monotonous. Various technical issues can be mastered through an understanding of various music-theoretical knowledge regarding chord structures, chord progressions, and consistent practice.keywords: technique, extended harmony, Rungkad
Cultural Adaptation: The Resilience of Musicians Based on Artistic Creativity in Preserving Traditional Keroncong Music Suryati, Suryati; Jamnongsarn, Surasak; Sanjaya, RM Singgih; Widodo, Tri Wahyu; Rokhani, Umilia
Jurnal Ilmiah Peuradeun Vol. 13 No. 1 (2025): Jurnal Ilmiah Peuradeun
Publisher : SCAD Independent

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26811/peuradeun.v13i1.1868

Abstract

Resilience based on artistic creativity by musicians has had positive implications for preserving Keroncong’s music. However, this context needs to be addressed in scientific discussions. In addition to complementing previous studies, this study focused on explaining the characteristics of resilience based on artistic creativity carried out by musicians in preserving Keroncong music. This study showed three significant findings. First, resilience based on artistic creativity carried out by musicians by composing made Keroncong music more inclusive and could be enjoyed by all groups. Second, resilience based on artistic creativity carried out by musicians by performing informal stage acts made Keroncong music an attractive genre. Third, resilience based on artistic creativity carried out by musicians by covering popular songs made the Keroncong genre became adaptive music. This study also recommends the importance of future studies that explain the resilience process of musicians in preserving Keroncong music by intensively interviewing musicians who consistently perform Keroncong songs.
METODE LIMA LANGKAH ARANSEMEN MUSIK Singgih Sanjaya, R.M.
PROMUSIKA Vol 1, No 1 (2013): April 2013
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/promusika.v0i0.538

Abstract

This study discusses a music arrangement methodological approach that is based on research and author’s ongoing experience run for more then twnry five years. The study is aimed at contributing a methodic guidance for those who concern with music arrangement. The research output of this study is a formulation of the five steps in music arrangement that encompass: arrangement concept, initial arrangement, creating new idea, further arrangement, and evaluation as well as revision.The author suggests that piano is the best instrument for arrangement and the arranger should actively hear the arrangements of various musical genres.Keywords: music arrangement, five steps, methodic guidance
Analisis Improvisasi Tenor Saxophone Chris Potter pada Karya “Wistful” Purba, Bernard Zulfredo; Sanjaya, Singgih; Prasetyo, Agoeng
Journal of Music Science, Technology, and Industry Vol. 8 No. 1 (2025)
Publisher : Institut Seni Indonesia Denpasar

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Abstract

Purpose: This article discusses the analysis of Chris Potter's improvisation on the song Wistful. The author chose Chris Potter because he is an inspiration in playing jazz, because of his very high skills (virtuoso). The song Wistful was released on an album entitled "Unspoken", in 1997. The author is interested in the song Wistful because Chris Potter shows a calm side of himself, the processing of sound color in an ensemble, and the resulting saxophone sound is thick and very unique. Research methods: This study uses a qualitative method. The process is through library research, then audio research, then the author transcribes directly using a saxophone and writes it into staff notation. Results and discussion: The song Wistful has a three-part song form, namely A-A-B. Chris Potter tends to use a chordal approach, and several theories of approach such as 7-3 resolution, 3-b9, mode, passing note, linear chromaticism, neighbor tone, and cesh. Implication: the discussion in the article provides an analysis model for jazz improvisation on the tenor saxophone in general and Chris Potter's works in particular.
Co-Authors Agoeng Prasetyo ananda putra Josias T Adriaan Mulyadi Cahyoraharjo Purba, Bernard Zulfredo Surasak Jamnongsarn, Surasak Suryati Suryati Tri Wahyu Widodo Tsabitul Azmi Umilia Rokhani Yosua Eriko Murti Setiawan