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All Journal Socia : Jurnal Ilmu-Ilmu Sosial Jurnal Imajinasi JOGED Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Harmonia: Journal of Research and Education Indonesian Journal of Conservation Jurnal Penelitian Pendidikan Dinamika Catharsis The Journal of Educational Development Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Dewa Ruci : Jurnal Pengkajian dan Penciptaan Seni EDUKATIF : JURNAL ILMU PENDIDIKAN Jurnal Seni Tari Kumawula: Jurnal Pengabdian Kepada Masyarakat Jurnal Eduscience (JES) GETER : Jurnal Seni Drama, Tari dan Musik Varia Humanika Journal La Sociale Jurnal Puruhita International journal of education and learning Eduvest - Journal of Universal Studies Prosiding Seminar Nasional Pascasarjana Proceeding of International Conference on Science, Education, and Technology Catharsis Jurnal Dinamika Penelitian: Media Komunikasi Penelitian Sosial Keagamaan Jurnal Pendidikan Progresif Imajinasi: Jurnal Seni Jurnal Bina Desa (JSM) Jurnal Seni Musik Harmonia: Journal of Arts Research and Education
Muhammad Jazuli
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Religion Aerospace Engineering Arts Humanities Computer Science & IT Decision Sciences, Operations Research & Management Economics, Econometrics & Finance Education Environmental Science Health Professions Languange, Linguistic, Communication & Media Mathematics Neuroscience Social Sciences Other

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Journal : Harmonia: Journal of Research and Education

 1 
Aesthetics of Prajuritan Dance in Semarang Regency Jazuli, Muhammad
Harmonia: Journal of Arts Research and Education Vol 15, No 1 (2015): (EBSCO, DOAJ & DOI Indexed, June 2015)
Publisher : Department of Drama, Dance, and Musik (Sendratasik), Semarang State University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v15i1.3692

Abstract

The scarcity of aesthetic study of traditional arts has evoked my intention to promote a model of aesthetic study in dance performance. The focus of this research is the aesthetics of Prajuritan dance in Semarang  regency. The aesthetics were founded on dance choreography and cultural value systems, which grow and develop in the community of Semarang regency. Dances choreography includes dance background, form, shape, theme, number and formation of dancers, moves, musical accompaniment, make-up and costume, and dance floor patterns. Cultural value systems include communicating stories, expressed symbols, function and meaning of Prajuritan dance for its supporting community. The stories were derived from the heroic tale of Prince Sambernyawa (KGPAA, king Mangkunegara I in Mangkunagaran royal palace, Surakarta) when he rebelled against the arbitrary Dutch colonialists, with his famous spell, “tiji tibeh (mukti siji mukti kabeh – being prosperous for one and all)” and Three Dharma of soldiers, namely “rumangsa melu handarbeni, melu hangrungkebi, mulat sarisa hangrasa wani, which means having sense of belonging, protection, and awareness to bravely do whatever to defend  his nation and country. Therefore, Prajuritan dance brings the mission to evoke sense of courage, discipline, and responsibility for the young generation.    
Aesthetics of Prajuritan Dance in Semarang Regency Jazuli, Muhammad
Harmonia: Journal of Arts Research and Education Vol 15, No 1 (2015): June 2015
Publisher : Department of Drama, Dance and Music, FBS, Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v15i1.3692

Abstract

The scarcity of aesthetic study of traditional arts has evoked my intention to promote a model of aesthetic study in dance performance. The focus of this research is the aesthetics of Prajuritan dance in Semarang  regency. The aesthetics were founded on dance choreography and cultural value systems, which grow and develop in the community of Semarang regency. Dances choreography includes dance background, form, shape, theme, number and formation of dancers, moves, musical accompaniment, make-up and costume, and dance floor patterns. Cultural value systems include communicating stories, expressed symbols, function and meaning of Prajuritan dance for its supporting community. The stories were derived from the heroic tale of Prince Sambernyawa (KGPAA, king Mangkunegara I in Mangkunagaran royal palace, Surakarta) when he rebelled against the arbitrary Dutch colonialists, with his famous spell, “tiji tibeh (mukti siji mukti kabeh – being prosperous for one and all)” and Three Dharma of soldiers, namely “rumangsa melu handarbeni, melu hangrungkebi, mulat sarisa hangrasa wani, which means having sense of belonging, protection, and awareness to bravely do whatever to defend  his nation and country. Therefore, Prajuritan dance brings the mission to evoke sense of courage, discipline, and responsibility for the young generation.    
The Identity Construction Through Music Notation of The Indigenous Style of Gitar Tunggal Lampung Pesisir Hidayatullah, Riyan; Jazuli, Muhammad; Syarif, Muhammad Ibnan
Harmonia: Journal of Arts Research and Education Vol 21, No 2 (2021): December 2021
Publisher : Department of Drama, Dance and Music, FBS, Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v21i2.30253

Abstract

This study aims to reveal the meaning of music notation writing of gitar tunggal Lampung Pesisir written by Imam Rozali. Imam is a gitar tunggal player who wrote his technique and playing style in notation symbols. This article uses a case study research design with pattern matching techniques (Yin, 2018). Data were collected through observation, interviews, document analysis, and audio recordings.  A series of tests were carried out on the notation and other supporting information to improve the validity of the data.  Laboratory analysis was carried out to describe signs, interpret symbols, and compare Western musical notation. As a result, (1) the music notation written by Imam Rozali is a musical expression used as a medium for remembering; (2) the writing of Imam Rozali’s musical notation constructs his musical identity as a Gitar tunggal Lampung Pesisir player; (3) Imam Rozali’s music notation symbolizes an indigenous style which has its concept of gitar tunggal music; (4) Imam Rozali tries to add value to his musical identity among gitar tunggal players because the notation is a symbol of intellectuality.
The Symbolic Meaning of the Wireng Dance Choreography at the Kasunanan Surakarta Palace Jazuli, Muhammad; Suharji, Suharji; Pebrianti, Sestri Indah
Harmonia: Journal of Arts Research and Education Vol 22, No 2 (2022): December 2022
Publisher : Department of Drama, Dance and Music, FBS, Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v22i2.37181

Abstract

The aim of this research is to find out the specifications of the choreographic form and the symbolic meaning of wirèng in the Kasunanan Palace. A qualitative descriptive research design with form-matching techniques was employed; meanwhile, the data collection techniques employed observation, interviews, and literature study. The data analysis includes the form of the wirèng choreography and its symbolic meaning. From the results of the study, it was found that the choreographic form of wirèng in Kasunanan was used for pair dances and had a soldier’s theme, while in Mangkunagaran wirèng was used to denote the term dance because wirèng is synonymous with the word beksan which means dance. The pattern of the wirèng choreography in Kasunanan has specifications, namely: (1) it is performed by male and female dancers in an even number, (2) it consists of three parts, namely the initial part (maju beksan), the main part (beksan), and the final part (mundur beksan), (3) in the main part of the dance there are variations of the dance scenes and variations of war scenes, such as madras wars or gending wars, referring to a typical war dance which is accompanied by slow (lamba) and constant (steady) rhythmic gendhing or music, and ruket wars which are accompanied by fast-rhythmic pieces of music (mipil-lancaran), (4) changes and differences always follow every change of part in the composition of the accompaniment pieces. Wirèng’s symbolic meaning reflects the value system prevailing in the palace environment, symbolized by the numbers zero, two, and three, movement characteristics, and movement patterns (gawang) in the choreography.
Aesthetics of Prajuritan Dance in Semarang Regency Jazuli, Muhammad
Harmonia: Journal of Arts Research and Education Vol 15, No 1 (2015): June 2015
Publisher : Department of Drama, Dance and Music, FBS, Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v15i1.3692

Abstract

The scarcity of aesthetic study of traditional arts has evoked my intention to promote a model of aesthetic study in dance performance. The focus of this research is the aesthetics of Prajuritan dance in Semarang  regency. The aesthetics were founded on dance choreography and cultural value systems, which grow and develop in the community of Semarang regency. Dances choreography includes dance background, form, shape, theme, number and formation of dancers, moves, musical accompaniment, make-up and costume, and dance floor patterns. Cultural value systems include communicating stories, expressed symbols, function and meaning of Prajuritan dance for its supporting community. The stories were derived from the heroic tale of Prince Sambernyawa (KGPAA, king Mangkunegara I in Mangkunagaran royal palace, Surakarta) when he rebelled against the arbitrary Dutch colonialists, with his famous spell, “tiji tibeh (mukti siji mukti kabeh – being prosperous for one and all)” and Three Dharma of soldiers, namely “rumangsa melu handarbeni, melu hangrungkebi, mulat sarisa hangrasa wani, which means having sense of belonging, protection, and awareness to bravely do whatever to defend  his nation and country. Therefore, Prajuritan dance brings the mission to evoke sense of courage, discipline, and responsibility for the young generation.    
Co-Authors - Fajar, - - Wasino, - AA Sudharmawan, AA Adi Prasetyo, Alfian Eko Widodo Agus Cahyono Agus Cahyono Agustiina, Inna Alfa Kristanto Alif Farkhatunnisa Amanatillah, Dwi Nisa' Amir Sarifudin Ani Nur Auliyatun Latifah Arina Restian Autar Abdillah AUTAR ABDILLAH Autar Abdillah Ayu Wulandari Bisri, Muhammad Hasan Desnatia Munzilatul Qur'aniyah Djuli Djati Prambudi Djuli Djatiprambudi Dwi Nisa' Amanatillah Dwi Tiya Juwita Eko Raharjo Eko Sugiarto Eny Kusumastuti Firdaus, Zana Saevanti Fitriah, Laila Handayani, Setyati Dyah Hanshi, Bao Hartono & Wahyu Lestari Hartono Hartono Hartono Hartono Harum Sunya Iswara Hukmi Hukmi I Wayan Adnyana I Wayan Adnyana INDAR SABRI Indrasmara, Atmanurvita Prameswari Joko Wiyoso Khamdani, Muhammad Laila Fitriah Lesa Paranti Malarsih Malarsih Martino, Tio Misye Pattipeilohy Moh. Hasan Bisri Muh Ibnan Syarif Muh. Ibnan Syarif, Muh. Ibnan Nadia Sigi Prameswari Nafik Salafiyah Natonis, Rolfi Junyanto Is Nur Lintang Dhien Hayati, Nur Lintang Pande Putu Yogi Arista Pratama Pradipta, Nareswara Bima Pratama, Pande Putu Yogi Arista Prima, Empiri Tahya Puput Meinis Narselina Purwaningsari, Dewi Putri Yanuarita Sutikno Radhiah, Aisyatur Restu Lanjari Richard Junior Kapoyos Riyan Hidayatullah, Riyan Rossa, Crecenda Della Rusdarti - S. Suharto Salma, Alya Happy Sari, Yofita Sestri Indah Pebrianti Setyo Yanuarti Slamet MD Sofia Rachmawati Stefanny Mersiany Pandaleke Suharji Suharji Suharto Suharto Sularso Sularso, Sularso Sunarto Sunarto Sutarjo, Johan Syahrul Syah Sinaga Syakir - syakir syakir Tina Mati, Reneldis Tjetjep Rohendi Rohidi Totok Sumaryanto Totok Sumaryanto F Totok Sumaryanto Florentinus Totok Sumaryanto Florentinus, Totok Sumaryanto Totok Sumaryanto, Totok Udi Utomo Udi Utomo Wadiyo Wadiyo Wadyio, Wadyio Wandah Wibawanto Wardani, Deantika Puspita Wida Rahayuningtyas widjajantie, kusrina Widodo Widodo Widodo Widodo Widyaswara, Silvana Nada Wijaya, Shella Henry Wike, Wike Yuni Suprapto, Yuni Zahra, Fatima Tuz