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All Journal Serupa : The Journal of Art Education Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Harmonia: Journal of Research and Education Imajinasi Jurnal Penelitian Pendidikan Catharsis Educational Management Innovative Journal of Curriculum and Educational Technology The Journal of Educational Development Jurnal Basicedu Dewa Ruci : Jurnal Pengkajian dan Penciptaan Seni Gelar : Jurnal Seni Budaya Journal of Primary Education Journal of Physical Education and Sports JSM (Jurnal Seni Musik) Tonika: Jurnal Penelitian dan Pengkajian Seni Visual Heritage: Jurnal Kreasi Seni dan Budaya Journal of Research and Educational Research Evaluation Varia Humanika Jurnal Basicedu Proceeding of International Conference on Science, Education, and Technology Riwayat: Educational Journal of History and Humanities Catharsis Buletin Pengembangan Perangkat Pembelajaran (JSM) Jurnal Seni Musik
Udi Utomo
Music Department, Semarang State University, Kampus Sekaran Semarang 50229, Indonesia
Arts Humanities Computer Science & IT Decision Sciences, Operations Research & Management Education Environmental Science Languange, Linguistic, Communication & Media Mathematics Social Sciences Other

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Gandalia Art of Banyumas : a Socio-cultural Change Febrianto, Aji Sofian; Sunarto, Sunarto; Utomo, Udi
Catharsis Vol 7 No 2 (2018)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v7i2.24372

Abstract

Gandalia is one example of musical arts which can endure changes and times. It is a typical Banyumas traditional music which was used to play a specific Gandalia song, an agricultural pest repellent song. Its instruments has similar forms to musical instruments called Angklung, which are made from bamboo. The instruments produce a unique rhythm. At first, Gandalia was used as a means to drive agricultural pests away, but in its development, it becomes a musical performance. This change is interesting to be studied from the socio-cultural point of view. The writer, therefore, studied the functional change of Gandalia musical instruments based on the socio-cultural change which occur in the society who supports it. In writing this article, the research method applied is qualitative method, a method of collecting data by applying some techniques such as interview, observation, and documentation, while the validity of the data is checked by using triangulation, member checking, and rich and thick description.Milesr that, the data are analyzed using qualitative analysis of Miles and Huberman that is an interactive model of data analysis including some stages such as the process of data collecting, data reduction, and data presentation and verification. The research result shows that Gandalia music which, at first, was a means of driving pests away, now becomes one of the performance arts. This change is influenced by the socio-culture of the society who supports Gandalia art. They are the people of Tambaknegara, Banyumas Regency. This socio-cultural change has created a more complex form of Gandalia art.
Gamelan Truntung Art in the Study of Structural Functionalism Indariyana, Raditya Wahyu; Wadiyo, Wadiyo; Utomo, Udi
Catharsis Vol 7 No 3 (2018)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v7i2.24743

Abstract

Gamelan Truntung is one of traditional arts in Magelang. This art derives from a mixture of Truntung with a set of gamelan instruments. Truntung is a musical instrument to accompany or facilitate Soreng dance which is also a traditional art in Magelang. The problem of the research is to answer how the structural functionalism of Gamelan Truntung Art is. The research is conducted to know, to analyze, and to describe the structural functionalism of gamelan Truntung art. Meanwhile, the research method applied is a qualitative method using monodisciplinary approach. The techniques used to collect the data needed in writing this article are obervation, interview, and document study. Then, the validity of the data collected is checked by applying data triangulation technique. The type of triangulation data used is the triangulation data of the resources which uses data analysis technique comprising of three steps, namely data reduction, data presentation, anda data verification. Gamelan Truntung art is considered as a system which has some parts that influence and are functional to each otherKesenian Truntung. The man in charge of the art studi or sanggar has run his function well, but in fact, there is a latent function which gives disadvantages to Gamelan Truntung art. The other part experience disfunction which hinders the development of Gamelan Truntung art. Gamelan Truntung can be maintained by giving attentions to the following, namely the artist creativity which must be elevated by having no dependency on Mr. Riyadi as the man in charge, and some hindering idealism which must be able to be set aside for the development and the progress of the art studio and its art.
Cooperative and Creativity Building in Unison Singing Ruata, Isabella Christy; Utomo, Udi; Hartono, Hartono
Catharsis Vol 7 No 3 (2018)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v7i2.24789

Abstract

This research analyses the building of cooperative and creative character in the teaching of singing unison. This research employed the qualitative method. The data of this research were obtained from observation, interview, and documentation. The analysis of the data was in the sequence of data reduction, data presentation, and data verification or conclusion. The finding showed that the teaching of singing in unison instil the character of cooperativeness when the students play different musical instruments together. Besides, cooperativeness is also realised when the students sang that in the group. In teaching arts, the song also contained the value of creativity of which the students can solve specific task given by the teacher and when the students developed the rhythmic pattern of the song with a traditional instrument. The findings implied education, particularly musical education.
The Change of Forms and the Value of the Dance performance of Barongan Risang Guntur Seto Guntaris, Endik; Cahyono, Agus; Utomo, Udi
Catharsis Vol 8 No 1 (2019)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v7i2.27898

Abstract

Barongan Risang Guntur Seto dance is one of dances that has experienced a changing of form from spontaneous to organized performance since 2016. The management and the change done by Barongan Risang Guntur Seto artists have altered the simple values of traditional performing art to be a glamorous values or it is called gebyarby Blora people. The purpose of this research is to analyze and to describe the change of form and value of Barongan Risang Guntur Seto dance.Theoretically, this research used qualitative method with interdisciplinary approach of science, they are ethnochoreology and Arts Sociology. The technique of data collection was done by observation, interview and document study. The data validity checking used source triangulation. The data analysis was done by data reduction, data presentation, and conclusion. The results show that the chane of form and value of Barongan Risang Guntur Seto dance performance involves movement, music, property, stage, and lighting. The suggestion for artists of Barongan Risang Guntur Seto dance is to always active in renewing the dance in accordance to the era and to always be consistent in emphasizing the simplicity and family values as an identity of Blora people.
The Inheritance of Kompang to The Recent Generation of Malay Society in Riau Lestari, Yunia Murdi; Florentinus, Totok Sumaryanto; Utomo, Udi
Catharsis Vol 8 No 1 (2019)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v7i2.29402

Abstract

Kompang is a traditional music and the inheritance for Malay people. In the era of globalization, the necessity of artistic entertainment dynamically changes. Hence, the transfer of the arts through generation is an obligation to preserve the tradition. Therefore, this research aims to analyze the process of inheritance of Kompang to the recent generation of Malay society in Riau through formal and informal methods. Formal education is in relevance to schooling and skill training. Informal education has a correlation with enculturation and socialization. The factors of the inheritance of Kompang in the industrial area are the diversity of the demography and the influences of globalization. In regards to the process, the researcher employed interdisciplinary approaches under the fields of sociology to analyze the artistic activities of the society in general. The research works under the a case study design using observation, interview, and document study as the methods of gathering data. In order to analyze the data, the researcher used interactive data analysis through data reduction, presentation, and verification. The implication of this research is the expectation of growing the sensibility of Malay community in Riau to preserve the existence of Kompang as a traditional music.
Social Action in Tongkling Performing ART Winata, Dean Arda; Utomo, Udi; Sumaryanto Florentinus, Totok
Catharsis Vol 8 No 1 (2019)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v7i2.29699

Abstract

Tongkling is a traditional music from Glodogan village, Bawen District, Semarang Regency. Tongkling is always invited to take part in Merti Dusun and Kirab Budaya events in Semarang regency. The purpose of this research is to analyze the form of performance and social action in Tongkling art. The method used in this research was qualitative with sociological approach. The technique of data collection were observation, interview, and document study. The technique of data validity used triangulation technique and data analysis technique that follow interactive model analysis stages. The research results show that the form of Tongkling art presentation are divided into traditional and electric types. The traditional types is presented during carnival while electric types is presented on the stage. The social action of the society is also developing, the beginning was for patrolling, and nowadays, this art is for enliven Kirab Budaya and Merti Dusun evenst in Semarang Regency. The research implication of Tongkling Ortega for the society in Glodogan village is for social interaction and for preserving the existence of Tongkling in traditional events. Tongkling Ortega art increases the art treasury in Semarang Regency.
The Function of Timorese Gong Music in The Tfua Ton Ritual Ceremony in Napan Kefamenanu Village Renaldus Afoan Elu, Agustinus; Utomo, Udi; Sunarto, Sunarto
Catharsis Vol 8 No 2 (2019)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v8i2.31426

Abstract

Tfua Ton is a ritual ceremony carried out by the community in Napan Village to ask for rain and soil fertility to Uis Neno (God) and Uis Pah (deceased ancestors). In the ritual there is a Timorese Gong instrument that has an important role in it. The gong consists of Tonu mese, Ote and Kbola and one drum (Ke'e). The purpose of this study is to analyze the function of the Timorese Gong Music in the Tfua Ton Ritual Ceremony. The method used in this study is qualitative interpretive with phenomenological approach. Data collection techniques with observation, interview and document study techniques. Check the validity of the data by using data triangulation, researcher’s triangulation, triangulation of theories, methods and techniques. For data analysis, the researchers used the theory of music function from Allan P. Merriam with stages of data reduction, data presentation, and conclusion (verification). The results of the study are Timorese Gong in the Tfua Ton ritual have an important role in it and have become a part of traditional rituals. Timorese Gong In the Tfua Ton ritual has several functions, including functioning as aesthetic appreciation, as entertainment, as an emotional expression, as communication and education, integrating society, as an endorsement of social institutions and religious rituals. Timorese Gong can function to show the existence, character and identity of the Dawan people in Napan Village. The results of this study can provide understanding and increase knowledge to the people of Napan Village and the younger generation to better understand Timorese Gong music in the Tfua Ton ritual, besides it is expected that the Napan Village community will continue to preserve and maintain Timorese Gong music as one of the traditional music of the society.
The Study of Presentational and Discursive Symbol of Gawi Dance in Tenda Village, Ende Regency Tina Mati, Reneldis; Jazuli, Muhammad; Utomo, Udi
Catharsis Vol 8 No 2 (2019)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v8i2.31427

Abstract

Gawi dance is a popular traditional dance in Ende Regency that has existed since the days of the Melehur and was inherited from generation to generation. Gawi dance is used in every traditional ceremony as an expression of gratitude and others as entertainment. The uniqueness of this dance lies in its shape resembling a snake circle (spiral), the rhythmic sound of the dancer's feet, and supported by musical accompaniment in the form of poetry from a solis without using text, properties such as machetes, tufted sticks tied to a horse's tail. The purpose of this study was to analyze the presentational and discursive symbols of the Gawi dance in the village of Tenda Regency in Ende. Qualitative research methods Interpretive with an interdisciplinary approach. Data collection techniques were observation, interview and document study. The data validity technique used source triangulation techniques. The data analysis technique used the theory of Susan K.Langer symbols with the stages of interactive model analysis. The results of the study suggested that Gawi dance has dance elements, namely motion, space and time, and supporting elements, namely accompaniment, clothing, makeup and property. The presentational symbol of Gawi dance could be seen in motion, space, accompaniment, clothing, makeup and property. The discursive symbol of Gawi dance was in the form of meanings such as religious meaning, unity, gender equality. The make-up of the Gawi dance means: valor and courage, beauty and neatness. The fashion of the Gawi dance has meaning: one's position, authority and pride. The implication of this research is that people can find out about the arts in the local area and increase the art treasury in Ende Regency.
A Study of Structural Functionalism on A musical group named Nasida Ria Falah, Ade Fajrul; Utomo, Udi; Wadiyo, Wadiyo
Catharsis Vol 8 No 2 (2019)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v8i2.32338

Abstract

Nasida Ria is a popular modern qasidah group and has popular songs in the society. This group was born as a form of a group's expression and as a communication media among those people having a preaching mission through the media of arts, that is music. Nasida Ria was founded by KH. Muhammad Zain, and for almost 4 decades, the group has been established and still exists until now. The typical characteristic of the musical performance of modern Qasidah of Nasida Ria is the nine woman musicians who wears hijab. The problem of the research discussed in this writing will focus on the study of how structural functionalism works on the group, Nasida Ria. The methodology of the research applied will be qualitative method with an sociological approach to art through the theory of structural functionalism. The techniques of collecting data used on the research will be observation, interview, and document study. Then, the data validity will be checked by applying triangulation method and continued with data reduction, data presentation, and the drawing of conclusion. According to Robert K. Merton every element of a group will have a function, a dysfunction, a latent function, a manifest function, and an effort to reach the balance. The result of the research shows that the continuation of Nasida Ria is because every part or structure of the group has been functional to each other. The parts of the group are the manager, song composer, music players, and fans. However, there is also a dysfunction in the group, Nasida Ria, i.e. in the regeneration process of the group. Even so, with the feeling as a family attached to every personnel of the group, such dysfunction can be well overcome. Therefore, the balance and the integrity of the group can be developed continuously. The hope of the fans that Nasida Ria will still exist and have a new album is its manifest function, whereas its latent function, the unexpected function, is the discontinuation of Nasida Ria group.
The The Identity of Congrock 17 Semarang Group : Postcolonial Studies Annisa Furi, Giza Abel; Utomo, Udi; Sunarto, Sunarto
Catharsis Vol 8 No 3 (2019)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v8i3.32820

Abstract

The transformation of identity in the midst of high cultural pluralism is a problem for former colonized nations, such as Indonesia. The identity crisis that hit caused by the political identity factors which used to investigate the backgrounds and the debates on an identity formation. As a former colonized nation, Indonesia comes to a new kind of colonialization era that is no longer physical but mental colonialization. Postcolonial theory used to criticize the power of dominant cultures which help to analyze and build awareness of this crisis situation, namely through the concept of hybridity and mimicry which is used as a form of identity. The Congrock 17 Semarang group brings keroncong rock music as their form of identity which later gives them space to describe the position of Congrock 17 Semarang group.This study focused on the problem of the identity of Congrock 17 Semarang group and postcolonial studies. The problems are later outlined into 2 sub focuses, (1) What factors influence the selection of keroncong rock genre as their identity in terms of political identity phenomenon? (2) What are the results of the Congrock 17 Semarang identity in postcolonial studies? Research objectives (1) To understand the supporting factors of the Congrock 17 Semarang identity’s forming process in the political identity phenomenon (2) To analyze Congrock 17 Semarang identity in postcolonial studies. The writer used qualitative research methods. The writer also used several techniques to collect data such as, observation, interview and document studies. Data validation used triangulation technique. Data analysis carried out started from data reduction, data presentation, and drawing conclusions.The result of the research show that (1) Keroncong rock as the identity of congrock music 17 group was formed due to factors of media hegemony in carrying out the strategy of globalization. The media modernization continuous exposure in spreading rock at that time and in a long period of time become one of the strong factors in forming its identity. The social interaction occurs between congrock 17 group with communities in their environment also plays a major role in forming keroncong rock to reach its popularity at the moment. (2) Keroncong rock identity is formed through the unity of mimicry and hybridity to bring up the ambivalent behavior, which is imitating as well as resisting. Congrock 17 music work and performance was performed on stage shows the cultural identity unison between keroncong rock which if formed in third space. The implication given by the research on congrock 17 Semarang group is showing that keroncong rock hybrid identity can be the icon of music art to the communities, fellow musicians and the government in Semarang.
Co-Authors A.A. Ketut Agung Cahyawan W Abdul Rachman Afwa, Mughny El. Agus Cahyono Alhail, Hadi Andhika Kurniawan Annisa Furi, Giza Abel Arbi, Bahtiar Arbi, Bahtiar Arqam, Muh. Azmi, Ulya Zakaria Bekti, Wahyu Prasetyo Beniarso, Mundin Bidang, Aris Bima Pradipta, Nareswara Cahyono, Indrawan Nur Cinta Salim, Clarrisa Vicky Fidela Dalori, Dalori Dedy Firduansyah Dewantara, Pitrang Dewi, Nurul Kemala Dini, Tria Ayu Effendi, Widia Eka Titi Andaryani Eko Raharjo Fakhruddin Fakhruddin Falah, Ade Fajrul Farid Ahmadi Faruq Alfianto, Faruq Fathur Rokhman Fauzi, Muhamad Irfan Febrianto, Aji Sofian Glenie Latuni Guntaris, Endik Handayani, Setyati Dyah Hariono, Slamet Hartono Hartono Haryadi - I Ketut Suada Ida Zulaeha Imam Ghozali Indariyana, Raditya Wahyu Irfanda Rizki Harmono Sejati Joko Wiyoso Juanita Theresia Adimurti Julta, Arbi Kartikasari, Farida Nur Kautzar, Awang Kembang Ayu Agustya Korsini, Perseveranda Putra Krido Bangun Nugroho, Dwi Kodrat Krisbiyanti, Billa Kurnia, Yoga Pria Kwidura, Nugroho Laili Rahmawati, Laili Lestari, Yunia Murdi M. Marauna, Vikran Mahardhika, Hendy Malarsih Malarsih Manuel Pratama, Ritchie Margono, Agusta Muchsin, Ibnu Amar Muhammad Jazuli Muhammad Rifki Mujadid, Ahmad Zahry Natalia, Violinna Wynsa Natonis, Rolfi Junyanto Is Nirbaya, Eryaya Nirbaya, Eryaya nirwanto, bagus Oriana Tio Parahita Nainggolan Pamungkas, Benidiktus Candra Perdana, Firdaus Perdana, Firdaus Prabowo, Anik Pramudhita, Chatarina Ria Pratama, Ritchie Manuel Prayekti, Hesty Puput Meinis Narselina Puspita, Nisa Rahma Putri, Farah Kamelia Ali Putri, Osmawinda Renaldus Afoan Elu, Agustinus Richard Junior Kapoyos Riyatmoko, Joko Rosikhatul Ilmiyah, Rosikhatul Ruata, Isabella Christy Ryandana, Mylza Nova Sabillah, Masayu Selly Sabillah, Masayu Selly Safitri, Setiorini Rahma Safitri, Setiorini Rahma Santi Pratiwi, Santi Saputra, Dani Nur Saputra, Oktafian Harys Sari, Reza Nepilia Shobirin, Ma’as Siwi, Laras Grahita Slamet Haryono Soegiyanto Soegiyanto, Soegiyanto Soesanto Soesanto Sri Susilogati Sumarti Suardi, Rofiandri Sugiyo Sugiyo, Sugiyo Suharto Suharto Sumaryanto F, Totok Sumaryanto F, Totok Sumaryanto, Toto Sunarto Sunarto Syah Sinaga, Fajry Sub'haan Syahrul Syah Sinaga Tampubolon, Rina Anggita Taqi, Ahmad Yazid Teguh Supriyanto Theo Ardiyarta Tilova, Eshia Monica Tina Mati, Reneldis Tjetjep Rohendi Rohidi, Tjetjep Rohendi Totok Sumaryanto F., Totok Totok Sumaryanto Florentinus, Totok Sumaryanto Tri Joko Raharjo Udju, Makdalena Yuniati Hege Ulfah, Zulfia Wadiyo Wadiyo wafa, mochammad usman Wahyu Lestari Wasino Wasino wicaksono, refi yunanda Widodo Widodo Wiharyanti, Theresia Ratna Wijaya, Barkah Bangkit Willy Lontoh Willy Lontoh, Willy Winata, Dean Arda Wismandanu, Hanur Wisnugraha, Azhardi Woro Sumarni Wulandari, Eky Olivia Zairin, Achmad