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Motif Tabuh Kendang Banyuwangi Pada Iringan Tari Jejer Gandrung Gaya Cak Munarno Aprian, Willy; Supriadi, Didin
Jurnal Penelitian Musik Vol 4 No 2 (2023): August 2023
Publisher : Program Studi Pendidikan Musik

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21009/JurnalPenelitianMusik.42.06

This study aims to describe the Banyuwangi drum percussion motif found in the Jejer Gandrung Dance with the cak Munarno percussion style. The research method used is descriptive qualitative research, this research was carried out at the TMII Pavilion in East Java and at the home of the resource person which was held from February 26, 2022 to May 17, 2022. The data obtained were the result of carrying out observations, interviews, documentation, and journals collected. obtained. The result of this research is that Banyuwangi art has unique characteristics and is very thick, by obtaining descriptions of various kinds of Banyuwangi drum beat motifs that exist, especially drums to the accompaniment of the Jejer Gandrung dance. With this, traditional arts actors in DKI Jakarta and The Sanggars who are still active in performing and preserving the arts of the archipelago can understand the meaning and can give performances properly, both musicians and dancers. In the world of education, of course, this wasp motif can be used as teaching material for music educators, especially traditional music in providing Banyuwangi art material, because this Gandrung art is an art that is already familiar and has become an icon of Banyuwangi Art itself.

VOCAL LEARNING FOR EIGHTH GRADE STUDENT IN 281 JAKARTA JUNIOR HIGH SCHOOL BY LEARNING IN PERSON Keffa Ellena, Ken; Ikasari Ichwan, Clemy; Supriadi, Didin
Jurnal Penelitian Musik Vol 4 No 2 (2023): August 2023
Publisher : Program Studi Pendidikan Musik

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21009/JurnalPenelitianMusik.42.07

The learning process in Indonesia has been disrupted due to the COVID-19 pandemic. Class VIII vocal learning at SMPN 281 Jakarta, which initially had to meet face-to-face, required teachers and students to continue learning at home by doing online. Of course, after carrying out online learning, you need to re-adjust to face-to-face learning. Online learning is also a bit difficult to do if the material being studied is in the form of a practicum. Like one of them is vocal learning. In this learning, it is certain that the things that are taught are in the form of practice or are carried out directly. The purpose of this study is to find out how the vocal learning process in the school is through face-to-face after conducting an online learning. This study uses a qualitative approach to generate data in the form of descriptive text. The author also uses three research instrument techniques, including observation, interviews, and documentation. From the results of the study it is known that; Vocal learning for class VIII at SMPN 281 Jakarta was found in the same learning steps as the steps in the Project Based Learning learning model. This can be proven by the existence of work project planning, preparation of activity schedules, project monitoring, as well as assessment and evaluation of student work project results. In addition, it was also found that vocal techniques were still used in vocal learning which were taught and trained in the class

Karakter Musik Etnik Dan Representasi Identitas Musik Etnik Sri Hermawati Dwi Arini; Didin Supriadi; Saryanto -
PANGGUNG Vol 25 No 2 (2015): Pendidikan, Metode, dan Aplikasi Seni
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v25i2.7

Representasi dapat didefinisikan sebagai penggunaan tanda untuk menggambarkan sesuatu, yakni karakter musik yang memiliki elemen, di antaranya teknik permainan dan garapan/pengolahan. Sedangkan tanda adalah segala sesuatu yang merepresentasikan sesuatu, yakni penampilan tanda-tanda seperti cengkok, imbal. Cengkok, imbal diperlakukan sebagai identitas yang merepresentasikan identitas musik etnik Jawa, begitu pula penampilan tanda-tanda yakni ugal, cecandetan, kotekan diperlakukan sebagai identitas yang merepresentasikan identitas musik etnik Bali.Kata kunci :Â Â Â Identitas, Representasi, Karakter, Gamelan Jawa dan Gamelan Bali

ENKULTURASI: POLA PEWARISAN KESENIAN TARAWANGSA DI DESA WISATA RANCAKALONG Desandra; Saryanto; Supriadi, Didin
Jurnal Penelitian Musik Vol 1 No 1 (2020): Maret 2020
Publisher : Program Studi Pendidikan Musik

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (429.416 KB)

To maintain the Tarawangsa Art, real effort and appreciation must be made by the community, especially the younger generation, the government and also schools to inherit and preserve Tarawangsa Art so that this art will not become extinct and remain a cultural identity of Indonesia. One effort that can be done is through the regeneration of Tarawangsa Artists towards the young generation. The younger generation has a very important role in the preservation of Tarawangsa Art. The type of research method used in this study is qualitative ethnographic approach. Data collection was carried out using observations, in-depth interviews, literature studies and documentation. In the process of analyzing the data obtained there are several stages including data reduction, data presentation, and inference (verification). The results of research and data analysis in this study concluded that the process of inheritance of tarawangsa artistry carried out by Mr. Pupung applied a learning by doing approach, meaning that they learned the material provided through direct practical activities. In addition, there are 6 stages of learning in the process of inheritance carried out by Mr. Pupung, namely juntrung, ngararaba, nyoba-nyoba, mitemeyan, ngaderes, and hatam. The process of inheritance carried out by Mr. Pupung is by seeing and hearing, not using number notation.

ORGANOLOGI ALAT MUSIK HANDPAN BUATAN DANIV VERYANA DITINJAU DARI PROSES PEMBUATAN Dimas, Dimas Aryo Maulana Agsha Sahkanto; Supriadi, Didin; Saryanto
Jurnal Penelitian Musik Vol 1 No 2 (2020): Agustus 2020
Publisher : Program Studi Pendidikan Musik

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (611.073 KB)

This research aims to describe the organology of handpan musical instruments made by Daniv Veryana in terms of the manufacturing process. This research focuses on Organology as seen from its physical classification, namely, the first criteria of raw materials / basic materials. Second, the shape and size. Third instrument, parts. Fourth, the manufacturing process. Fifth, the tuning or tuning process. This research uses qualitative methods and descriptive type. Researchers in this case made observations through a video of the manufacturing process sent directly by the resource person Daniv Veryana, in order to open the Handpan manufacturing process, as well as through literature studies and utilization studies in order to obtain optimal data by making a complete application and eliminating the findings. The results obtained are showing the process of making an accepted handpan musical instrument: Steel plate is intact, according to size, ring clamp, making the main dome, forming molds for dimpel / mortar and molding ding, hardening steel, tuning or tuning process. then the tools used in the process of making handpanit: hammer, large, hammer, medium, hammer, small all wrapped in plastic and rubber, drums, rings, ding molds, dimpel / dimple molds, ear muffs, steel scissors, tongs, stoves roses, 3kg gas, and canned welding gas. The material consists of steel containing 1mm and steel glue.

FUNGSI SASANDU GONG DALAM NYANYIAN TE’O RENDA DI ROTE NUSA TENGGARA TIMUR ; Supriadi, Didin; Joko Srimoko, Gandung
Jurnal Penelitian Musik Vol 1 No 2 (2020): Agustus 2020
Publisher : Program Studi Pendidikan Musik

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (500.188 KB)

Sasandu gong merupakan alat musik berdawai yang dimainkan dengan cara dipetik. Alat musik ini berasal dari Pulau Rote Nusa Tenggara Timur. Instrumen solo ini memiliki fungsi peran sebagai pengiring melodi. Tujuan dalam penelitian ini adalah untuk memberikan gambaran tentang bagaimana Fungsi Sasandu Gong dalam Nyanyian Te’o Renda di Rote Nusa Tenggara Timur. Metode yang digunakan dalam penelitian ini adalah metode kualitatif deskriptif, dengan teknik pengumpulan datanya meliputi wawancara, studi pustaka dan dokumentasi. Penelitian ini di laksanakan di Jln Lalamentik No 47 Fatululi, Oebobo Kota Kupang dan juga wawancara dilakukan secara virtual call melalui video call, phone call dan juga pesan teks. Hasil penelitian menunjukan bahwa Fungsi Sasandu Gong dalam Nyanyian Te’o Renda di Rote Nusa Tenggara Timur berfungsi sebagai ritual akan hasil panen sebagai bentuk doa dan ucapan syukur kepada Tuhan dan leluhur serta berfungsi sebagai sarana hiburan bagi masyarakat rote. Selain itu berfungsi sebagai estetik, alat komunikasi, simbol, respon fisik, norma sosial, institusi sosial, kesinambungan dan stabilitas budaya dan kontribusi pada suatu integrasi dari kelompok masyarakat.

ORGANOLOGI ALAT MUSIK HANDPAN BUATAN DANIV VERYANA DITINJAU DARI PROSES PEMBUATAN.docx Aryo Maulana Agsha Sahkanto, Dimas; Supriadi, Didin; Saryanto
Jurnal Penelitian Musik Vol 5 No 2 (2024): August 2024
Publisher : Program Studi Pendidikan Musik

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21009/JurnalPenelitianMusik.52.03

This research aims to describe the organology of handpan musical instruments made by Daniv Veryana in terms of the manufacturing process. This research focuses on Organology as seen from its physical classification, namely, the first criteria of raw materials / basic materials. Second, the shape and size. Third instrument, parts. Fourth, the manufacturing process. Fifth, the tuning or tuning process. This research uses qualitative methods and descriptive type. Researchers in this case made observations through a video of the manufacturing process sent directly by the resource person Daniv Veryana, in order to open the Handpan manufacturing process, as well as through literature studies and utilization studies in order to obtain optimal data by making a complete application and eliminating the findings. The results obtained are showing the process of making an accepted handpan musical instrument: Steel plate is intact, according to size, ring clamp, making the main dome, forming molds for dimpel / mortar and molding ding, hardening steel, tuning or tuning process. then the tools used in the process of making handpanit: hammer, large, hammer, medium, hammer, small all wrapped in plastic and rubber, drums, rings, ding molds, dimpel / dimple molds, ear muffs, steel scissors, tongs, stoves roses, 3kg gas, and canned welding gas. The material consists of steel containing 1mm and steel glue

PELATIHAN PENYUSUNAN MODUL AJAR UNTUK EFEKTIVITAS KURIKULUM MERDEKA BAGI GURU SENI Dwi Kusumawardani; Didin Supriadi; M. Asril; Maulita Meysanti Setiawan; Syiva Restu Shabrina
Prosiding Seminar Nasional Pengabdian Kepada Masyarakat Vol. 5 No. 1 (2024): PROSIDING SEMINAR NASIONAL PENGABDIAN KEPADA MASYARAKAT - SNPPM2024
Publisher : Lembaga Penelitian dan Pengabdian kepada Masyarakat Universitas Negeri Jakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar

This training activity is a service program for Fine Arts/Music/Dance subject teachers at DKI Jakarta MGMP group high schools. The training aims to increase teachers' understanding regarding the implementation of the Merdeka Curriculum into teaching modules. The priority for solving problems through this training is misconceptions about writing the substance of teaching modules, due to teachers' lack of understanding of the implementation of Merdeka Curriculum concepts into teaching modules, and teachers' lack of understanding in writing substance in teaching modules. So, training activities are designed to overcome these two problems. The training method implements retraining. Training equivalent to 22 JP, the activities are (1) refreshing material on the relationship between the Merdeka Curriculum and teaching modules as well as teaching module writing simulations carried out in 5 JP; (2) independent practice in creating teaching modules with the given format, and mentoring in 14 JP; (3) reviewing the results of writing teaching module with a focus on the substance of 3 JP. The results of the analysis of teaching modules written by training participants show that misconceptions in writing the substance of teaching modules can be minimized and understanding increased. Participants who actively participate in training can write substance teaching modules correctly. Keywords: training; preparation of teaching modules; retraining method Abstrak Kegiatan pelatihan ini merupakan program pengabdian untuk para guru pengampu mata pelajaran Seni Rupa/Musik/Tari di SMA dalam kelompok MGMP DKI Jakarta. Pelatihan bertujuan untuk meningkatkan pemahaman guru mengenai implikasi Kurikulum Merdeka ke dalam modul ajar. Masalah prioritas yang ditangani melalui pelatihan ini adalah miskonsepsi dalam penulisan subtansi modul ajar, karena kurangnya pemahaman guru terhadap implikasi konsep Kurikulum Merdeka ke dalam modul ajar, dan kurangnya pemahaman guru dalam menulis subtansi pokok bahasan modul ajar. Oleh karena itu, kegiatan pelatihan dirancang untuk mengatasi kedua masalah tersebut. Metode pelatihan menerapkan retraining. Pelatihan setara 22 JP, kegiatannya: (1) penyegaran materi tentang kaitan Kurikulum Merdeka dengan modul ajar dan simulasi penulisan modul ajar dilaksanakan 5 JP; (2) latihan mandiri membuat modul ajar dengan format yang telah disediakan dan pendampinan dilaksanakan 14 JP; dan (3) review hasil penulisan modul ajar terfokus kepada subtansi selama 3 JP. Hasil analisis terhadap modul ajar yang telah ditulis oleh peserta pelatihan menunjukkan bahwa miskonsepsi dalam penulisan subtansi modul ajar dapat diminimalisir dan terjadi peningkatan pemahaman. Peserta yang aktif dalam pelatihan dapat menulis subtansi modul ajar dengan benar. Kata Kunci: pelatihan; penyusunan modul ajar; metode retraning

ENKULTURASI: POLA PEWARISAN KESENIAN TARAWANGSA DI DESA WISATA RANCAKALONG Desandra; Saryanto; Supriadi, Didin
Jurnal Penelitian Musik Vol 1 No 1 (2020): Maret 2020
Publisher : Program Studi Pendidikan Musik

Show Abstract | Download Original | Original Source | Check in Google Scholar

To maintain the Tarawangsa Art, real effort and appreciation must be made by the community, especially the younger generation, the government and also schools to inherit and preserve Tarawangsa Art so that this art will not become extinct and remain a cultural identity of Indonesia. One effort that can be done is through the regeneration of Tarawangsa Artists towards the young generation. The younger generation has a very important role in the preservation of Tarawangsa Art. The type of research method used in this study is qualitative ethnographic approach. Data collection was carried out using observations, in-depth interviews, literature studies and documentation. In the process of analyzing the data obtained there are several stages including data reduction, data presentation, and inference (verification). The results of research and data analysis in this study concluded that the process of inheritance of tarawangsa artistry carried out by Mr. Pupung applied a learning by doing approach, meaning that they learned the material provided through direct practical activities. In addition, there are 6 stages of learning in the process of inheritance carried out by Mr. Pupung, namely juntrung, ngararaba, nyoba-nyoba, mitemeyan, ngaderes, and hatam. The process of inheritance carried out by Mr. Pupung is by seeing and hearing, not using number notation.

ORGANOLOGI ALAT MUSIK HANDPAN BUATAN DANIV VERYANA DITINJAU DARI PROSES PEMBUATAN Dimas, Dimas Aryo Maulana Agsha Sahkanto; Supriadi, Didin; Saryanto
Jurnal Penelitian Musik Vol 1 No 2 (2020): Agustus 2020
Publisher : Program Studi Pendidikan Musik

Show Abstract | Download Original | Original Source | Check in Google Scholar

This research aims to describe the organology of handpan musical instruments made by Daniv Veryana in terms of the manufacturing process. This research focuses on Organology as seen from its physical classification, namely, the first criteria of raw materials / basic materials. Second, the shape and size. Third instrument, parts. Fourth, the manufacturing process. Fifth, the tuning or tuning process. This research uses qualitative methods and descriptive type. Researchers in this case made observations through a video of the manufacturing process sent directly by the resource person Daniv Veryana, in order to open the Handpan manufacturing process, as well as through literature studies and utilization studies in order to obtain optimal data by making a complete application and eliminating the findings. The results obtained are showing the process of making an accepted handpan musical instrument: Steel plate is intact, according to size, ring clamp, making the main dome, forming molds for dimpel / mortar and molding ding, hardening steel, tuning or tuning process. then the tools used in the process of making handpanit: hammer, large, hammer, medium, hammer, small all wrapped in plastic and rubber, drums, rings, ding molds, dimpel / dimple molds, ear muffs, steel scissors, tongs, stoves roses, 3kg gas, and canned welding gas. The material consists of steel containing 1mm and steel glue.

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