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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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GURITAN: MAKNA SYAIR DAN PROSES PERUBAHAN FUNGSI PADA MASYRAKAT MELAYU DI BESEMAH KOTA PAGARALAM Firduansyah, Dedy; Rohidi, Tjetjep Rohendi; Utomo, Udi
Catharsis Vol 5 No 1 (2016)
Publisher : Universitas Negeri Semarang

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Abstract

Guritan adalah salah satu jenis sastra daerah masyarakat Besemah yang eksistensinya ditampilkan dalam bentuk teater tutur. artinya ia dituturkan secara monolog oleh seorang penutur cerita dalam bahasa Besemah dengan lagu atau syair tertentu dan memakai alat bantu sambang. Masalah dalam penelitian ini adalah bagaimanakah makna syair guritan di Besemah Kota Pagaralam dan bagaimanakah perubahan fungsi guritan pada masyarakat melayu di Besemah Kota Pagaralam? Pendekatan yang diterapkan penelitian ini adalah interdisiplin yang melibatkan disiplin ilmu semiotika dan sosiologi. Metode yang digunakan kualitatif. Lokasi penelitian di Kota Pagaralam. Teknik pengumpulan data yang digunakan adalah observasi, wawancara, dan studi dokumen. Teknik keabsahan data secara utama menggunakan triangulasi sumber. Teknik analisis data yang digunakan adalah analisis isi dan analisis data interaktif. Hasil penelitian yang pertama yaitu terdapat makna berupa nasehat-nasehatt anjuran berbuat baik dan tolong menolong serta selalu menghormati kedua orang tua dan pembahsan kedua ditemukan adanya perubahan fungsi guritan yang di sebabkan oleh pengaruh budaya luar yang masuk di Kota Pagaralam yaitu kebudayaan islam hal tersebut menyebabkan perubahan prilaku masyarakat Kota Pagaralam yang harus mengikuti norma dan nilai yang belaku pada budaya yang baru yang berdampak pada perubahan fungsi pada guritan.
SYAROFAL ANAM: FUNGSIONALISME STRUKTURAL PADA SANGGAR AN-NAJJAM KOTA PALEMBANG Lontoh, Willy; Wadiyo, Wadiyo; Utomo, Udi
Catharsis Vol 5 No 2 (2016)
Publisher : Universitas Negeri Semarang

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Abstract

Syarofal Anam pada dasarnya adalah penyajian vokal salawatan atau puji-pujian kepada Allah dan Nabi Muhammad SAW yang disertai dengan permainan alat musik terbangan dan dalam penyajiannya ketiga elemen ini (vokal, alat musik terbangan dan Rodat) saling berkaitan. Permasalahan pada penelitian ini terkait dengan bagaimana fungsionalisme struktural Syarofal Anam yang ada pada Sanggar An-Najjam Kota Palembang. Pendekatan yang diterapkan penelitian ini adalah interdisplin, yang melibatkan disiplin ilmu sosiologi dan musikologi. Metode yang digunakan adalah kualitatif. Teknik pengumpulan data yang digunakan adalah observasi, wawancara, dan studi dokumen. Teknik keabsahan data secara utama menggunakan triangulasi sumber. Teknik analisis data yang digunakan adalah analisis isi dan analisis data interaktif. Hasil penelitian menunjukkan, Syarofal Anam pada Sanggar An-Najjam dan masyarakat Palembang saling fungsional yang masing-masing mempunyai harapan demi keberlangsungan Syarofal Anam. Syarofal Anam menjadi kebutuhan estetik yang fungsional bagi masyarakat Kota Palembang.
The Symbolical Interaction of Inter Dance Performers in Hak-Hakan performance in The Ritual Ceremony in Kaliyoso, Tegalombo, Kalikajar, Wonosobo Handayani, Setyati Dyah; Jazuli, Muhammad; 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.v7i2.16958

Abstract

Hak-hakan is a traditional art included as the part of Hak-Hakan ritual in Kaliyoso Village, Tegalombo, Kalikajar, Wonosobo. Hak-hakan reflects the history of the establishment of Kaliyoso Village from the opening of the area, creating water channel (wangan), until the creation of Kaliyoso Village. This research aimes to describe Hak-hakan as the interaction media between societies as well as the meaning of Hak-Hakan in ritual ceremony. This research was a qualitative research. The technique of collecting data was using observation, interview, and document. The techniques of analyzing data were data reduction, data presentation, and conclusion. The result of the research showed that Hak-hakan became the media of interaction in the rituals through; First, the interaction of the society to their ancestors from the offerings during the preparation and the execution of the performance; and Second, is the interaction between art performers which happens between leaders and dancers and between dancers through symbols of Hak-hakan, including movement, male dancers, and dialogue. The movements of this art are nglamak tumeka pelusan, mangkat babat babat, ngratakke lamak, pasang gebal, tayuban. Dialogue is executed in the form of talks to each other initiated by the shout of the leader (pelandang) then continued with questions and answer and invitation through discussion for working together to open the area. The meaning of Hak-hakan is contained in the symbol of the offerings, movements, male dancers, and dictions.
Kesenian Rampak Kenthong sebagai Media Ekspresi Estetik Masyarakat Desa Kalirejo Kabupaten Pekalongan Perdana, Firdaus; Sunarto, Sunarto; Utomo, Udi
Catharsis Vol 6 No 1 (2017)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v6i1.17019

Abstract

Kesenian Rampak kenthong adalah alat musik yang terbuat dari bambu, dalam bahasa Banyumas lazim disebut thek-thekan. Disebut thek-thekan karena sesuai dengan bunyi yang dihasilkan pada saat dipukul. Kesenian Rampak Kenthong di Kecamatan Talun memiliki keistimewaan yang ditunjukkan melalui syair lagu yang bernuansa religi dan tradisi, selain pertunjukan tari dan silat. Alat musik yang digunakan dalam kesenian Rampak Kenthong meliputi angklung, calung, bedhug, tam-tam dan kenthongan. Tujuan penelitian ini adalah (1) Untuk mengetahui dan mendeskripsikan bentuk lagu dalam penampilan grup Rampak Kenthong di Desa Kalirejo Kabupaten Pekalongan.,(2) Untuk mengetahui dan mendeskripsikan alasan kesenian Rampak Kenthong digunakan sebagai media ekspresi estetis masyarakat Desa Kalirejo Kabupaten Pekalongan. Penelitian ini menggunakan metode kualitatif. Teknik pengumpulan data yang digunakan adalah metode observasi, wawancara, serta metode dokumen, sedangkan teknik analisis terdiri dari tiga alur kegiatan yang terjadi secara bersamaan yaitu reduksi data, penyajian data, penarikan kesimpulan/verifikasi. Hasil penelitian ini menunjukkan bahwa (1) bentuk lagu dalam penampilan grup Rampak Kenthong meliputi diatonis minor, melangkah, A-B-C, baku, merah diatonis mayor, berurutan, irama semangat, pentatonis selendro, berurutan, syair bahasa arab, 2 pola bentuk lagu, 3 pola irama, gerak melangkah, pentatonis selendro, pentatonis pelog patet lima, gerak melodi melangkah. (2) Setiap lagu dalam pertunjukan Rampak Kenthong memilki makna dan ekspresi tersendiri. Hal itu ditentukan dari bentuk musik dan syair lagu tersebut. Rampak Kenthong art is a musical instrument made of bamboo, in language banyumas commonly called thek-thekan.Called thek-thekan because in line with of sounds produced at struck. Rampak kenthong art in Pekalongan regency different than other regions, things that are different from other regions located at then the words religious nuances and traditions. In a art rampak kenthong also served dance and performing arts. An instrument used in the arts of Rampak Kenthong covering angklung, calung, bedhug, tam-tam and kenthongan. The purpose of this research are (1) to know and described the form of song in appearance group rampak kenthong in the Kalirejo village, Pekalongan regency., (2) to know and described reason art Rampak Kenthongused as a medium of expression aesthetically the village community kalirejo pekalongan regency. This research uses the method-qualitative study.Technique data collection used is the method observation, interview, and a method of documents, while technique analysis consisting of three grooves activities that happen simultaneously namely reduction data, presentation of data, withdrawal conclusion / verification. This research result indicates that (1) the song in appearance group includes diatonic rampak kenthong minor, stepped, a-b-c, raw, major red diatonic, successive, rhythm spirit, pentatonis selendro, successive, lyrical arabic, 2 pattern the song, 3 the rhythm, motion step, pentatonis selendro, pentatonis pelog patet five, motion melody step. (2) Any song in a Rampak Kenthong have meaning and expression of its own .It determined from musical form the and then the words. Based on the results of research , researchers suggested that coaching held business through training organization arts society-based by the district government pekalongan , revamping the presence of businesses and guidance in the fields of music by the village government Talun.
Adaptability of Performing Literature Speech Tadut Artist in Facing Social Change of Peoples' Life Besemah Pagaralam Sabillah, Masayu Selly; Triyanto, Triyanto; Utomo, Udi
Catharsis Vol 6 No 2 (2017)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v6i2.19282

Abstract

Tadut speech literature is a literary speech that developed in Besemah Pagaralam which is used as a medium for dissemination and learning of Islam in the recitation and death because his poems are able to remind people of Allah swt.. Problems reviewed ini this research, (1) How to show literature Tadut speech in the community culture of Besemah Pagaralam (2) What values of local wisdom are expressed in Tadut's literature, (3) How does the adaptation of the literary performers of Tadut's literary works defend the language of the Tadut literature his artistry in the social change of life of the people of Besemah Pagaralam. This research uses interdisciplinary approach that is the science of cultural anthropology, sociology and art education. The type of research method used is qualitative with case study design. Data is collected by observation techniques, interviews and document material collection. The results show, first, in the present day Tadut literature is shown in government events, race events, public events and even wedding ceremony. Second, the values of local wisdom expressed in Tadut literature are religious values, moral values, educational values, customs values. Third, adaptability done by Tadut literary artists through the mechanism of cultural collaboration is able to maintain its existence in social change.
Polarization Music Function of Bia in Context of Social Change in Culture in Community Village South District Likupang South Regency of North Minahasa North Sulawesi Kapoyos, Richard Junior; Sumaryanto F, Totok; Utomo, Udi
Catharsis Vol 6 No 2 (2017)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v6i2.19286

Abstract

The phenomenon in the Batu village community needs to be closely examined given that the bia music of the past to present is shifting and changing, due to the lack of awareness, the behavior of the society towards the Bia music. The music of this tradition is very apprehensive to see the reality of the players from year to year diminishing in quantity and quality, not many people who can play and who can play it most aged 40 years and above. The disinterest of the young generation of traditional music with the presence of communication and entertainment technology has made it easier for people to choose various types of entertainment in accordance with what they like. The theory used in this research is the theory of socio-cultural change, data collection techniques used are: interviews, observation and documentation. The data validity technique is based on the credibility criteria, using data triangulation. The result of the research shows that polarization of changes in bia music is seen in previous music functions as ritual media and communication media, now transformed into evangelism media, cultural festivals events, association, entertainment, publicity, and education and in socio-cultural changes occur Due to internal factors caused by the artist itself as a result of the musical demands into an innovation and creativity, and external factors caused by the influence of outside culture that entered and easily accepted by the community.
Bundengan : Between Aesthetics Expressivism, Social of Reality, and Perfomance Studies Arbi, Bahtiar; Sumaryanto F, Totok; Utomo, Udi
Catharsis Vol 6 No 2 (2017)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v6i2.19287

Abstract

Bundengan is a transformation of kowangan or tudhung, which is a kind of head cover made of bamboo blades, clumpring, and rope fibers. This kowangan used to be used by duck herders to take shelter or shelter from the rain and the sun. The purpose of this study is to analyze: (1) The form of bundengan art performances; (2) Social reality that occurs in society; And (3) The aesthetic expression of artists bundengan with the flow of expressiveness. This research uses qualitative method with data collection technique of interview, observation and document study. The data validity technique is based on the credibility criteria, using triangulation of data. Data analysis techniques used are data collection, data presentation, data reduction, and data verification. The results show bundengan can replicate gamelan sounds such as bendhe, kempul, gong, and kendang applied in the pattern of the game, accompanying Lengger dance. There are three moments of dialectics in the social reality of externalization, objectivation, and internalization. Artists bundengan embrace the flow of aesthetic expressiveness art is not as a craft, magical, representation, and entertainment. The art of bundengan maintained its authenticity, and developed and disseminated.
Creativity of Gandes Luwes Traditional Arts Studio From Parenggan Village, Pati in Developing Tembang Dolanan Performance Nirbaya, Eryaya; Hartono, Hartono; Utomo, Udi
Catharsis Vol 6 No 2 (2017)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v6i2.19288

Abstract

Gandes Luwes traditional dance studio plays important roles in conserving traditional arts, especially tembang dolanan (traditional game song) as the musical art made based on the growth level of children. Beside used as a song, Tembang Dolanan also contains moral values or wisdoms as well as be enhanced with the creativity from the creator studio in its structure and rhythm pattern. This research reviewed or analyzed the forms and creativity of Tembang Dolanan. This research used qualitative approach by understanding and describing the phenomenon of creative backsound music as to fulfill the needs of the market or the society to support the development of Tembang Dolanan.
The Appreciation of Ngloho Santri Society Towards Kubrosiswo Bintang Mudo Art in Ngloho Pringsurat Temanggung Safitri, Setiorini Rahma; Utomo, Udi; Wadiyo, Wadiyo
Catharsis Vol 6 No 2 (2017)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v6i2.19291

Abstract

People's appreciation of traditional art can be influenced by the views of the community. This study aims to examine the appreciation of Ngloho santri society towards Kubrosiswo Bintang Mudo Arts. This research uses qualitative method. The approach used is a contextual approach or how to understand a phenomenon by connecting it to other phenomena in a particular culture. In the context of this research, problem solving is placed within the socio-cultural context of Ngloho santri society.The appreciation of Ngloho santri society towards Kubrosiswo Bintang Mudo art splits into two, namely the young and the old group. Kubrosiswo Bintang Mudo since its inception in Ngloho Hamlet in 1989 was supported by a group of young people because of the desire to fulfill their aesthetic needs for a traditional art form that can represent their identity. This art for young people is understood as a symbol of trends, progress and modernity. The old group tends to keep a distance to this art. For them this art is considered jogedan art that is understood as the symbol of abangan art. In addition, the existence of pre-show and trance ritual sessions for the old group is considered to have come out of the Islamic faith.
The Art of Nandung in Indragiri Hulu Regency, Riau: the Study of Performance Form and Value Suardi, Rofiandri; Utomo, Udi
Catharsis Vol 7 No 1 (2018)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v7i1.23088

Abstract

Nandung is an spoken literature used as a lullaby, delivered with poems and chanted by humming. Nandung contains poems about religion, advice, character, and education.At present, Nandung grows as a kind of performing art. This research aims at analyzing the form of Nandung as a performing art and its values. The method used was qualitative. The location of the research was Rengat, Indragiri Hulu Regency, Riau Province. The technique of data retrieval were observation, interview, and document study. The technique of data validity used triangulation source. The technique of data analysis used descriptive analysis. The results of the research are that the form of Nandung performance begins from the preparation, then goes to the main performance. There are 7 (seven) elements in the form of Nandung spoken literature performance, they are, speaker, music accompaniment, stage, costume, audience, poem, and the language used. The values in the poems are, religious value, character value, and education value. This research can broaden the perspective of the readers about Nandung spoken literature and give information about description and knowledge about Nandung spoken literature which is seen from the aspects of the performance and the values in it.
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