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BERKARYA MUSIK: ANTARA HARAPAN DAN TANTANGAN Mr. Warsana
SELONDING Vol.1, No.1, Maret 2012
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/selonding.v1i1.64

It is not easy to create musical works. It requires perseverance, toughness, broad knowledge and experience in addition to long creative process for musicians to pour their ideas into musical works that are intelligible and enjoyable. Different artists have different understanding of artistic works with certain theme and they have their own way to interpret the artistic works. There are various challenges they artists must face in creating good artistic works that are enjoyable by their audience or music lovers. The creative process is carried out by exploring, observing, improvising and arranging the results of the exploration, the observation and the improvisation in a good composition. It is the key for the artists to the success in their artistic creation. Keywords: Music, Creativity, Performance

Tumpang Tindih: Sebuah Komposisi Musik Dalam Interpretasi Personal Warsana -
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 13, No 1 (2012): Juni 2012
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v13i1.515

Komposisi musik ini merupakan bagian dari relfeksi pengalaman masa kecil penulis ketika harus menghafalhuruf Jawa Hanacaraka. Sebagai rangsang awal dalam karya ini adalah ide dari legenda Ajisaka tentang menciptakanhuruf Jawa Hanacaraka. Ketidakpastian dalam satu keputusan memunculkan keputusan baru adalah gambaran tatanan kehidupan dewasa ini oleh karena bahasa serta sikap dalam mengambil tindakan yang tumpang tindih. Dalam komposisi ini Hanacaraka yang terdiri dari 20 kata diaktualisasikan ke dalam beberapa instrumen musik dan sumber bunyi dengan karakter yang berbeda. Komposisi ini memadukan instrumen gong, bonang, pralon, othokothok, klonthongan sapi, serta pengolahan huruf Jawa Hanacaraka. Komposisi ini memperhatikan tiga elemen musik yakni ritme, melodi, dan harmoni dengan pola permainan sukat yang berbeda. Penyajian komposisi sebagai sebuah pertunjukan dapat dinikmati secara audio maupun visual. Oleh karena itu, diperlukan penggarapan baik penyajian musikal maupun non musikal. Dengan mengacu pada pertunjukan teater maka diperlukan stage, agar terjadi komunikasi antara penonton dengan pemain dalam satu arah pandang mata.Kata kunci: tumpang tindih, hanacarakaABSTRACTThe Tumpang Tindih: A Music Composition. Observing the current reality of twisted, overlap, and unstructured life becomes the theme of this composition. Music composition entitled “Overlapping” represents the part of the writer’srefl ective experience on his childhood when he must memorize Javanese letters of Hanacaraka. The diffi culty in learningand memorizing the Javanese letters becomes the basic idea of the birth of his composition. The Legend of Ajisaka aboutcreating the Javanese letters of Hanacaraka becomes the stimulus of an early idea in this composition. The uncertainty inone decision which emerges another new decision is a description of life arrangement nowadays because of the overlapping of the language and attitude. In this composition, Hanacaraka with 20 letters is actualized into some musical instruments and sound with different characters. This composition combines the gong instrument, bonang, “pralon”- hard pipe, othokothok – a traditional children’s toy, “klontongan sapi”- the bell horn by the ox, and also the Javanese letters of Hanacaraka arrangement. All the sound mentioned above; then is composed into three music elements, namely the existence of rhythm, melody, and harmony with different “sukat”- measure such as 3/4, 4/4, 5/4, 7/4. This composition is presented as a performance, which can be appreciated through audio and visual. Therefore, a good musical and non- musical arrangement is necessarily used. Referring to the theatre performance, hence a stage is needed in order to be a direct communication media for the audience and players.Keywords: overlapping, hanacaraka

Pengembangan Potensi Seni Batik dan Seni Pertunjukan di Desa Kebon, Bayat, Klaten, Jawa Tengah Anna Galuh Indreswari; Warsana Warsana
Jurnal Pengabdian Seni Vol 1, No 2 (2020): NOVEMBER 2020
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jas.v1i2.4707

Tujuan adanya P3Wilsen di Desa Kebon, Kecamatan Bayat, Kabupaten Klaten ini adalah melihat potensi objek wisata dan seni di daerah tersebut. Objek wisata banyak dikunjungi baik oleh masyarakat di Klaten maupun dari daerah luar, seperti Bukit Pertapan dan Taman Bunga. Objek-objek wisata tersebut menarik wisatawan karena mempunyai landscape yang menarik terutama untuk fotografi. Pengabdian ini lebih menitikberatkan pada potensi seni yang dimiliki oleh Desa Kebon, terutama Batik, Karawitan dan Seni Tari. Kesenian-kesenian tersebut telah lama ada di Desa Kebon tetapi memerlukan perhatian khusus supaya lebih maju dan berkembang. Hal inilah yang menjadi latar belakang diadakannya P3Wilsen di Desa Kebon, Bayat, Klaten. Suatu pengabdian supaya dapat berhasil dengan baik selain memerlukan tujuan yang jelas juga beberapa metode pendekatan. Metode pendekatan dalam pengabdian ini berguna untuk membantu memecahkan permasalah yang ada. Metode pendekatan yang digunakan meliputi, yaitu; metode diskusi, ceramah dan eksperimen. Metode-metode ini diterapkan supaya membantu proses belajar dan memperoleh hasil maksimal. Pelaksanaan P3Wilsen selama satu bulan telah menghasilkan produk-produk seni dalam masyarakat Bayat, khususnya Desa Kebon, di rumah batik Kebon Indah. Hasil yang didapat adalah berbagai macam motif batik dan cara-cara pewarnaan. Cara pewarnaan secara sintetis diperoleh melalui pembelajaran dalam pengabdian ini. Pengabdian ini juga menghasilkan produk seni lainnya yaitu Karawitan dan Seni Tari. Seni Tari yang berhasil dihasilkan adalah Tari “Batik Kenes”. Tarian “ Batik Kenes” menjadi ciri khas seni tari Desa Kebon selain motif batik ciri khasnya juga. Motif batik ciri khas hasil P3Wilsen mempunyai nama Sindhu Mlati.The purpose of P3Wilsen in Kebon Village, Bayat District, Klaten Regency is to find out the potential tourism and arts spots in the area. The tourism there is often visited by both the local people from Klaten or from the area outside; Bukit Pertapan and Taman Bunga. Those spots are appealing to the tourists in regard to scenic photography. This P3Wilsen service focuses on the arts potential that Kebon Village has, especially in Batik, Karawitan (traditional Java instruments), and Dance Arts. These arts have been around for a good while in Kebon Village but they still need extra attention to improve and grow even more. These are the considerations for conducting P3Wilsen in Kebon Village, Bayat, Klaten. This service should have a clear purpose to ensure a successful project to be attained and this needs good approach methods. The methods used here will serve as a support to solve the problems present in the field. The methods are: discussion, lectures, and experiments. These methods are applied to help participants absorb the lesson and get the maximum results. P3Wilsen that is conducted in one month has produced a number of art products in Bayat society, especiallh in Kebon Village, at Kebon Indah Batik House. The results gained are the various Batik patterns and its coloring methods. The coloring is done synthetically and is taught through the lesson from this P3Wilsen service. This service also produces other art products such as Karawitan and Dance Arts. The dance art produced is “Batik Kenes” dance and this dance will become Kebon village’s trademark aside from the batik pattern. The unique batik pattern produced through P3Wilsen is named: Sindhu Mlati.

SAPE' SEBAGAI SUMBER INSPIRASI PENCIPTAAN MUSIK ETNIS "MANAI" Nadia Anjani; Warsana Warsana; Amir Razak
SELONDING Vol 18, No 1 (2022): : Maret 2022
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/sl.v18i1.5858

Sape’ merupakan sebuah instrumen musik yang menurut kepercayaan masyarakat hanya boleh dimainkan oleh kaum laki-laki, terlarang jika dimainkan oleh perempuan. Konteks akademis, terdapat fenomena perempuan yang mulai mempelajari sape’, terlihat begitu anggun dan mempunyai wibawa. Paradigma ini menjadi sebuah permasalahan yang menarik untuk diangkat dalam komposisi musik etnis yang berjudul Manai. Sebagai bentuk representasi kritis posisi perempuan terhadap laki-laki dalam memainkan Sape’. Berdasarkan pengamatan pengkarya, sangat penting untuk dipublikasikan sebagai pengetahuan budaya, serta sebagai contoh kepada khalayak betapa pentingnya posisi perempuan dalam menstransmisikan, mempertahankan identitas sebuah budaya masyarakat. Metode yang digunakan dalam proses penciptaan musik etnis yang berjudul Manai mengacu pada teori Alma M. Hawkins. Teori ini berisi tentang proses penciptaan yaitu Eksplorasi, Improvisasi, dan pembentukan.Penyajian komposisi Manai merupakan perpaduan dari instrumen etnis Nusantara, instrumen barat dan vokal. Selain itu, Sape’ Leto merupakan pola permainan utama dari karya ini yang berasal dari suku Dayak Kenyah sebagai pendukung terciptanya komposisi musik etnis yang berjudul Manai. Secara garis besar nuansa dalam karya ini merupakan representasi dari peristiwa yang terjadi pada sosok gadis Dayak yang terdiri dari tiga bagian yaitu kelahiran, kehidupan, dan kesedihan. Kata Kunci: Manai, Sape’. Maskulinitas.

Design of “Munyer” as a Respons to Social Condition in New Normal Warsana, Warsana; Irawati, Eli
Resital: Jurnal Seni Pertunjukan Vol 24, No 2 (2023): Agustus 2023
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v24i2.9276

This study aimed to observe social background of “Munyer” masterpiece creation. This study was a qualitative study through library research, observation and interview to elaborate the composition. The finding showed that the design method consisted of initial stimulation, idea generation, exploration, improvisation, formation and presentation or performance. The result of this design was a new musical masterpiece with instruments, pattern and performance in five composition parts. Each part illustrates online learning situation happened in New Normal. Thus, the creation of “munyer” was a response to social condition in new normal where all pedagogical activities were conducted via online. However, there were complex obstacles and problems during online classes such as poor provider network, massive internet data plan, non-updated hardware and software, etc.

BREGADA REKSO WINONGO KAMPUNG NGAMPILAN DALAM ACARA BREGADA RAKYAT MALIOBORO Sardjono, Aryapandu Zikri; Warsana, Warsana; Sudarno, Sudarno
SELONDING Vol 20, No 1 (2024): : Maret 2024
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/sl.v20i1.10994

Bregada merupakan nama lain dari brigade yang berarti kelompok prajurit. Bregada merujuk kepada kelompok prajurit yang terdapat pada Keraton Yogyakarta, dalam sejarah perkembangannya bregada menjadi sebuah pertunjukan atraksi budaya yang diminati oleh masyarakat biasa. Oleh sebab itu masyarakat biasa berinisiatif untuk membuat sebuat kelompok atau grup baris berbaris dengan konsep meniru kepada kelompok prajurit Keraton yaitu bregada, sehingga muncul kelompok baris-berbaris dimasyarakat yang dinamakan Bregada Rakyat. Bregada rakyat terdiri dari berbagai unsur dalam masyarakat sehingga banyak hal yang menarik dalam sebuah kelompok atraksi budaya ini. Pada tahun 2021 tepatnya bulan November Dinas Pariwisata bersama dengan Dinas Kebudayaan membuat suatu kegiatan dimana Bregada Rakyat menjadi peran penting didalamnya yaitu Bregada Rakyat Malioboro. Salah satu kelompok atraksi budaya Bregada Rakyat yang terpilih adalah Bregada Rekso Winongo. Bregada Rekso Winongo merupakan kelompok atraksi budaya dengan konsep peniruan prajurit Keraton yang berada di bantaran sungai Winongo oleh sebab itulah di namakan Rekso Winongo. Penelitian ini menggunakan metode penelitian kualitatif dengan pendekatan etnomusikologis dimana pola garap menjadi teks dan fungsi Bregada Rekso Winongo sebagai konteks. Pada pola penyajian dari Bregada Rekso Winongo ini terdapat beberapa unsur didalamnya yaitu penggarap, sarana garap, perabot garap. Dalam fungsinya Bregada Rekso Winongo ini juga berfungsi untuk menghibur,membantu, serta memberikan informasi seputar kawasan wisata Malioboro.

IDENTITAS JAKARTA MELALUI KARYA KREATIF LALEILMANINO BERJUDUL DJAKARTA Malya Faiza Ayudira; Ela Yulaeliah; Warsana
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 17 No. 2 (2024): December
Publisher : Institut Seni Indonesia (ISI) Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v17i2.7216

The creativity in the musical work titled "Djakarta", created by the alliance of producers and songwriters: Laleilmanino, was inspired as a gift for Jakarta’s 497th anniversary in 2024. This research aims to understand how musical creativity can represent the cultural identity of a metropolitan city through the fusion of traditional Betawi music (tehyan and kendang) with easily accessible pop music elements. A qualitative method is used to observe the phenomenon of creativity in Laleilmanino’s song "Djakarta." In its creation process, the song demonstrates that "Djakarta" successfully produces a musical product with a pop identity that is catchy yet retains its traditional roots. This fusion led "Djakarta" to be nominated for the 2024 AMI Awards as Best Pop Music Arrangement.

FACTORS INFLUENCING WORKING MOTIVATION OF AGRICULTURAL EXTENSION AGENTS IN CENTRAL JAVA PROVINCE Warsana, Warsana; Sumekar, Wulan; Luqman, Yanuar
Agrisocionomics: Jurnal Sosial Ekonomi Pertanian Vol 8, No 1 (2024): March 2024
Publisher : Faculty of Animal and Agricultural Science, Diponegoro University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.14710/agrisocionomics.v8i1.18207

Productivity of rice in Pekalongan and Jepara regencies is the lowest in the Pantura region of Central Java province. One of the problems is that the number of extension workers is still insufficient and is not balanced with the area of agricultural areas in the district. The existence of agricultural instructors has a positive impact on farmer behavior, including knowledge, attitudes and skills. The more advanced farmers' behavior will have the impact of increasing the productivity of their farming This indicates that the program of one Agricultural Extension Agent for one village has not been fulfilled. This research was conducted to analyze education, experience, and workload toward work motivation in the field. Survey approach was used in this research. Sampling was done using a proportionate random sampling as a sampling technique for selecting respondents with total 122 agricultural extension agents in Pekalongan and Jepara regencies. Data sources using primary data and secondary data Multiple regression was used for data analysis. The results of the study show that education, work experience and workload had influence both simultaneously and partially toward work motivation of extension workers in Pekalongan City and Jepara. Good education and better experience with appropriate workload can increase motivation. It need approach to maintain a moderate workload to improve work motivation. Agricultural Extension Workers with high work motivation provide the best performance during extension activities. The conclusion of this research is that all hypotheses in this research are accepted and have a positive and significant influence. Extension workers are expected to be able to maintain their work so that the work motivation of Agricultural Extension workers is maintained.

The Creation Of The Composition Of The Musical Work Of Kemepyar As Representation Of Traditional Music Diversity Eli Irawati; Warsana Warsana
Journal of World Science Vol. 3 No. 11 (2024): Journal of World Science
Publisher : Riviera Publishing

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.58344/jws.v3i11.686

The creation of the work "kemepyar" is a response to the typical archipelago food containing many spices, one of which is soto. Soto is made from a variety of spices and spices from all corners of the country, be it in the form of tubers, leaves, grains, and so on. The mixture of various Indonesian spices produces a distinctive taste and makes the body feel warm and fit. This was used as an inspiration for the creation of the artwork entitled Kemepyar. Kemepyar is a term used by Javanese people to describe a situation that very bright, clear, warm, satisfying, satisfied, and delicious in enjoying a dish of food or drink with a fresh taste. The musical idea of the work comes from Javanese gamelan and Macapat dhandang gula. Musical idioms use Javanese, Balinese, Kalimantan, and Sumatran karawitan. Meanwhile, the medium of cultivation uses gamelan, swipe instruments, saxophone blowing instruments, and tambourines. The purpose of creating this work as a form of response to the social environment, in this case the diversity of spices/spices used in soto dishes as a representation of ethnic diversity and traditional music in Indonesia. This work is useful as a stimulus for Music Composition students to create works derived from the phenomenon of daily life, in this case food. The method of creation was chosen to realize the phenomenon of food diversity of soto spices into the form of musical works. The creation process consists of initial stimulation, idea emergence, exploration, improvisation, formation, and presentation.

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