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All Journal Tekno - Pedagogi : Jurnal Teknologi Pendidikan Jurnal Sendratasik Journal of Urban Society´s Arts JURNAL PENDIDIKAN TAMBUSAI Jurnal EDUTECH Undiksha Dewa Ruci : Jurnal Pengkajian dan Penciptaan Seni Gelar : Jurnal Seni Budaya Jurnal Psikologi Sosial Satwika : Kajian Ilmu Budaya dan Perubahan Sosial Melayu Arts and Performance Journal Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Jurnal Ilmu Pendidikan dan Humaniora JURNAL ILMIAH PENDIDIKAN MUSIK
Sari, Ayuthia Mayang
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Arts Humanities Education Languange, Linguistic, Communication & Media Materials Science & Nanotechnology Social Sciences Other

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Tradisi Tale Dalam Kehidupan Masyarakat Kerinci Ayuthia Mayang Sari
Gelar : Jurnal Seni Budaya Vol 17, No 1 (2019)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (618.255 KB) | DOI: 10.33153/glr.v17i1.2600

Abstract

ABSTRAK This research focuses on the subject matter of Tradition of tale (Traditional Song) in the life of Kerinci People. It aims to see and formulate the existence of Tale. In understanding it, qualitative research methods are used so that the data obtained is descriptive of the behavior of those observed. This study uses a phenomenological point of view that is seeing phenomena as appear appropriate in the field. From the result of the study, it was found that tale is a song of the Kerinci folk in the form of a rhyme. Tale is present in various traditional arts in Kerinci. The tale tradition can be classified according to how to sing it; they are tale that is sung without equipping by music instrument, tale in dancing and tale that is sung equipped by using music instrument. Keywords: Tradition, Tale, Kerinci.  ABSTRACT This research focuses on the subject matter of how the tale tradition in the lifes of  people in Kerinci. It aims to learn and formulate the existence of tale. The qualitative research method is used to examine the problem in order to present descriptive data relating to the behavior of the people observed. This study uses a phenomenological point of view, namely seeing the phenomena as they appear in the field. The result of the study shows that the tale represents Kerinci folk song in the form of a rhyme. The tale is present in various traditional arts in Kerinci. The tale can be classified based on how it is sung, namely the tale that is sung without musical instruments, tale in the dance and tale that are using musical instruments. Keywords: Tradition, Tale, Kerinci
Serdam Sebagai Alat Musik Tiup Bambu Lampung Barat: Kajian Organologi Uswatul Hakim; Ayuthia Mayang Sari; Hengki Armez Hidayat
SENDRATASIK UNP Vol 11, No 3 (2022)
Publisher : FBS Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1056.607 KB) | DOI: 10.24036/js.v11i3.119186

Abstract

Serdam is an artistic product in the form of a wind instrument, the only one in West Lampung and made of bamboo. Serdam is usually used to accompany oral literary vocals such as muayak, hahadoh, hahiwang and dance music along with other traditional Lampung musical instruments. The bamboo used for the manufacture of Serdam is bamboo of the type of bamban  and is often found in the plantations of the people of West Lampung. The purpose of this study is to describe the physical form, tools and materials, the process of making Serdam, sound source and tone system and how to play the Serdam. Serdam has many physical similarities to bamboo wind instruments from other regions, but Serdam has a distinctive blowing technique and tone. The research method used is the descriptive qualitative research method. The data obtained from this study with data collection methods by observation, interviews and documentation studies. The results of this study indicate that the Serdam wind instrument is made of bamboo bamban  which is often found in the plantations of the people of West Lampung. Serdam has a shape like a long tube that has four melody holes and one blow hole. This musical instrument still uses a traditional manufacturing process to this day. Serdam as the only wind instrument originating from West Lampung has many organological peculiarities that are not yet known by the supporting community.
Jejak falsafah Alam Takambang Jadi Guru dalam repertoar musik tradisional Minangkabau Ayuthia Mayang Sari; Syeilendra Syeilendra; Hengki Armez Hidayat
Satwika : Kajian Ilmu Budaya dan Perubahan Sosial Vol. 7 No. 1 (2023): April
Publisher : Universitas Muhammadiyah Malang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22219/satwika.v7i1.25242

Abstract

Alam Takambang Jadi Guru merupakan falsafah yang melandasi cara berpikir masyarakat Minangkabau. Falsafah ini juga sebagai norma-norma adat dan turunannya untuk menjalankan kehidupan yang diatur dalam adat Minangkabau. Jejak  Alam Takambang Jadi Guru atau "segala sesuatu yang ada di ‘alam’ dapat dijadikan guru" terlihat jelas dari penggunaan kata-kata yang berasal dari “alam” (sifat, tumbuhan, hewan, benda, tempat dan kegiatan maupun peristiwa atau kejadian) sebagai bagian dari norma adat yang mengatur setiap tindakan masyarakat Minangkabau baik individu maupun kelompok. Penggunaan kata maupun tutur yang merujuk kepada “alam” dalam setiap falsafah dan norma adat mengacu pada makna kiasan, sehingga falsafah dan norma adat tersebut mampu untuk memunculkan arti serta maknanya. Filosofi Alam Takambang Jadi Guru juga berdampak pada kesenian khususnya musik tradisional Minangkabau. Hal ini terlihat dalam syair dendang dan penamaan repertoar-repertoar musik tradisional Minangkabau. Penelitian ini bertujuan untuk melihat sejauh mana falsafah Alam Takambang Jadi Guru digunakan dan bagaimana munculnya dalam kesenian ksususnya musik tradisional Minangkabau sebagai representatif dari falsafah itu sendiri. Metode yang digunakan pada penelitian ini adalah kualitatif deskriptif dengan pendekatan fenomenologi. Pengumpulan data dilakukan dengan teknik wawancara, observasi serta studi literatur. Hasilnya adalah ditemukannya beberapa repertoar kesenian tradisional Minangkabau dengan menggunakan kata maupun tutur yang merujuk kepada “alam” sebagai jejak dari falsafah Alam Takambang Jadi Guru. Nama maupun tutur tersebut hadir dalam repertoar-repertoar musik tradisional Minangkabau yang sesuai dengan interpretasi masyarakat Minangkabau dalam melihat fenomena “alam”.   Alam Takambang Jadi Guru is a philosophy that underlies the way of thinking of the Minangkabau people as customary norms and derivatives to carry out a life regulated in custom. The traces of Alam Takambang Jadi Guru, or "everything in nature can be used as a teacher", is seen from the use of words derived from “nature” (Characteristic, plants, animals, objects, places and activities or events) as part of customary norms that regulate every action of the Minangkabau community both individuals and groups. The use of names and speech that refer to "nature" in every philosophy and customary norm refers to figurative meanings so that these traditional philosophies and standards can bring out their meanings. The Philosophy of Alam Takambang Jadi Guru also impacts art, mainly traditional Minangkabau music. This can be seen in the dendang poetry and the naming of traditional Minangkabau music repertoire. This study aims to know the extent to which the philosophy of Alam Takambang Jadi  Guru is used and how the emergence in the arts, especially Minangkabau traditional music, represents the philosophy itself. The method used in this study is descriptive qualitative with a phenomenological approach. Data collection is carried out by interview, observation and literature study techniques. The result was the discovery of several repertoires of traditional Minangkabau arts using words and words that refer to "nature" as traces of the philosophy of Alam Takambang Jadi Guru. The name and speech are present in the repertoire of traditional Minangkabau music following the interpretation of the Minangkabau people in seeing the phenomenon of nature.
Festival Sebagai Bentuk Sosialisasi Terhadap Kontinuitas Eksistensi Tari Galombang Duo Baleh di Nagari Sintuak Padang Pariaman Belirda Wulan Dhari; Ayuthia Mayang Sari
Melayu Arts and Performance Journal Vol 6, No 1 (2023): Melayu Arts and Performance Journal
Publisher : Pascasarjana Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/mapj.v6i1.3611

Abstract

This article was purposed to reveal the urgency of dance festival and exhibition socialization toward the continuity of Tari Galombang Duo Baleh in community of Nagari Sintuak [village]. Tari Galombang Duo Baleh was a tradition that borne and grew in Nagari Sintuak Padang Pariaman. Tari Galombang Duo Baleh was one of cultural heritage in community of Nagari Sintuak. Lately, Tari Galombang Duo Baleh was coped an existence problem, one of degradation factors was lack of publication or lack of appreciation from community toward Tari Galombang Duo Baleh. In this article, writer offered one of the ways to promote the existence of Tari Galombang Duo Baleh to community of Nagari Sintuak. In turn, dance festival and socialization had an effect to the continuity of Tari Galombang Duo Baleh existence in community of Nagari Sintuak Padang Pariaman. Keywords: ata kunci: Galombang Duo Baleh Dance; Existence; Festival;  Socialization AbstrakArtikel ini bertujuan menjelaskan tentang pentingnya festival tari dan sosialisasi pertunjukan untuk mempertahankan keberlanjutan keberadaan tari Galombang Duo Baleh dalam masyarakat Nagari Sintuak. Tari Galombang Duo Baleh adalah tari tradisi yang lahir, hidup dan berkembang di Nagari Sintuak Padang Pariaman. Tari Galombang Duo Baleh merupakan salah satu warisan budaya masyarakat Nagari Sintuak. Dewasa ini, keberadaan tari Galombang Duo Baleh mengalami problematika eksistensi, salah satu faktor degradasi eksistensi diduga adalah kurangnya publikasi, atau kurangnya apresiasi masyarakat terhadap tari Galombang Duo Baleh  tersebut. Dalam artikel ini penulis menawar kan salah satu jalan untuk Re-eksistensi adalah melalui festival atau parade tari dan sosialisasi pertunjukan tari Galombang Duo Baleh kepada masyarakat Nagari sintuak. Pada gilirannya, festival dan sosialisasi berdampak pada kontinuitas eksistensi tari Galombang Duo Baleh dalam masyarakat Nagari Sintuak Padang PariamanKata Kunci: Tari Galombang Duo Baleh; Eksistensi; Festival; Sosialisasi
Alu Katentong performance, history, form, and function at a wedding event in Padang Laweh Syeilendra Syeilendra; Ayuthia Mayang Sari
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol. 18 No. 2 (2023)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v18i2.5417

Abstract

Alu Katentong is a traditional Minangkabau art that persists in Nagari Padang Laweh, Tanah Datar Regency. The purpose of this research is to establish that Alu Katentong is an essential and meaningful element in a wedding ceremony. This qualitative study employs a descriptive analysis approach. Data collection techniques include literature review, observation, interviews, documentation, and triangulation. Data analysis involves data clarification, reduction, presentation, and drawing conclusions. The research findings demonstrate that the inclusion of Alu Katentong in wedding ceremonies is a prerequisite for adhering to local customs and traditions, as well as for the preservation of local culture. The performance elements encompass the following: The function of Alu Katentong art serves as a traditional complement to the wedding ceremony procession, provides entertainment and spectacle, functions as a means of communication, acts as a unifying force in society, contributes to cultural preservation, and serves as a medium for educating the community. The presentation takes the form of a coordinated ensemble arrangement comprising several alu, lasuang, and flat stones in a circular formation facing forward (lasuang). This artistic performance commences at noon following various wedding processions leading up to the manjapuik and maanta marapulai procession.
Studi Organologi pada Alat Musik Seruling Bambu dalam Pertunjukan Kesenian di Desa Tebat Ijuk Sari, Ayuthia Mayang; Pratama, Olan Yogha
Satwika : Kajian Ilmu Budaya dan Perubahan Sosial Vol. 7 No. 2 (2023): Oktober
Publisher : Universitas Muhammadiyah Malang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22219/satwika.v7i2.28956

Abstract

Penelitian ini mengkaji proses pembuatan alat musik seruling bambu di desa Tebat Ijuk kecamatan Depati VII kabupaten Kerinci. Seruling Bambu merupakan alat musik tradisional dengan suara yang unik dan pada awalnya dimainkan secara individu oleh masyarakat yang berprofesi sebagai petani. Dalam perkembangannya seruling bambu dijadikan pertunjukan kesenian berbentuk ensambel musik tradisional. Saat ini tidak banyak masyarakat desa Tebat ijuk dan generasi muda yang mengetahui proses pembuatan alat musik ini. Tujuan penelitian ini untuk membedah mengenai bahan, proses serta teknik yang digunakan dalam pembuatan alat musik seruling bambu.  Penelitian ini memakai pendekatan kualitatif yang bersifat deskriptif dalam menjelaskan proses pembuatan seruling bambu dan menggunakan kajian organologi sebagai landasan dalam menganalisa objek tersebut. Hasil penelitian didasarkan pada teori teknis organologi yang terdapat didalamnya pengukuran alat musik, pendeskripsian, penggambaran serta teknik pembuatannya. Kesimpulan dari penelitian ini bahwa proses pembuatan alat musik seruling bambu masih menggunakan teknik tradisional dalam penggunaan bahan, alat dan metode pembuatannya untuk menghasilkan suara seruling bambu yang nantinya dapat digunakan dalam pertunjukan kesenian seruling bambu.   This research examines the process of making bamboo flute musical instruments in Tebat Ijuk village, Depati VII sub-district, and Kerinci district. The bamboo flute is a traditional musical instrument with a unique sound that was originally played individually by people who worked as farmers. In its development, bamboo flutes were used as performing arts in the form of traditional music ensembles. Currently, not many residents of Tebat Ijuk village and the younger generation know the process of making this musical instrument. The aim of this research is to dissect the materials, processes, and techniques used in making bamboo flute musical instruments. This research uses a qualitative, descriptive approach in explaining the process of making bamboo flutes and uses organological studies as a basis for analyzing this object. The research results are based on the technical theory of organology, which includes the measurement of musical instruments, descriptions, depictions, and manufacturing techniques. The conclusion from this research is that the process of making bamboo flute musical instruments still uses traditional techniques, both in the use of materials, tools, and manufacturing methods, to produce bamboo flute sounds that can later be used in bamboo flute art performances.
Analisis Struktur Lagu Bendera Ciptaan Eross Candra Rafli, Fajri; Ayuthia Mayang Sari; Jagar Lumbantoruan
EDUMUSIKA Vol. 2 No. 4 (2024): Volume 2 No 4 Tahun 2024 (Desember)
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/em.v2i4.114

Abstract

This research aims to analyze the song structure used in the song Bendera. This research method is a qualitative method with a systematic content analysis approach, objectivity and generalization. Data collection techniques through literature study and laboratory work. Data analysis techniques are carried out from the stages of listening to recordings, playing melodies, transcribing songs, analyzing song structures, describing and drawing conclusions. Based on the research results, it can be concluded that the song Bendera shows that the structure of the song is a song with a three-part form (A-B-C) which is a development in the form of a period (A-B-B'-Bridge-C-C1). There are four basic rhythmic motifs and melodic motifs that make up the song Bendera, there are 9 types, namely m, n, o, p, q, r, s, t and u which are then developed by processing the motifs so that 10 types of motifs emerge, namely n1, o1, o2 , o3, r1, s1, t1, u1, u2, and u3. There are 11 phrases in the Bendera song, including five antecedent phrases and six consequent phrases. Cadences found in the Bendera song include perfect cadences, half cadences, half plagal cadences and deviant cadences. The lyrics and melody in the song Bendera are filled in a neumatic form where each word is filled with several notes.
Implementation of Dance Self-Development Activities at SMPN 2 Kandis, Kandis District, Siak Regency Umrintha, Dinna; Ayuthia Mayang Sari
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 2 No. 3 (2024): October
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ag.v2i3.152

Abstract

This study aims to find and describe the planning of dance self-development activities and the implementation of dance self-development activities in SMP Negeri 2 Kandis, Kandis District, Siak Regency. This type of research is qualitative research with a descriptive method. The instruments of this study are the researchers themselves and are assisted by supporting instruments such as stationery, flash drives and cameras. Data were collected through literature studies, observations, interviews and documentation. The steps of analyzing data are data reduction, data presentation and data inference. The results of the study show that dance self-development activities at SMPN 2 Kandis consist of planning, implementation and appreciation of coaches. The planning of the dance self-development activity program at SMPN 2 Kandis has been well coordinated and appropriate according to the plan made by the coach, starting from the schedule, time, in accordance with the purpose of the program. The implementation of dance self-development activities at SMPN 2 Kandis has gone well and the coaches are trying their best to make the students who participate in the activity practice well according to the schedule and place. The appreciation of the coach by displaying the students' dance works is one of the motivations for students to continue practicing so that they are more confident in displaying the results of exercises that have been done well.
Application of Traditional Minangkabau Dance Techniques in Implementing Students' Self-Development at SMA Negeri 1 Matur Tessa Makhmuddah; Ayuthia Mayang Sari
Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Vol. 2 No. 3 (2024): October
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ag.v2i3.155

Abstract

This study aims to describe the application of traditional Minangkabau dance techniques to improve the dance ability of SMA Negeri 1 Matur students. This type of research is a qualitative research with a descriptive method. The researcher's own research instruments are assisted by supporting instruments such as stationery, cameras, and flash drives. Data collection techniques are carried out through literature studies, observations, interviews, and documentation. Data analysis techniques are data collection, data reduction, data presentation and conclusion drawn. The results of the study show that the application of basic techniques of traditional dance movements can be an effective model for the self-development of students' dance arts in improving the dance ability of students' creations at SMA N 1 Matur. The methods used in the self-development of the art of plate dance creations are demonstrations, lectures and practice methods. The application of basic techniques of traditional Minangkabau dance movements using the demonstration method can be proven effective in improving the dance ability of students' creations at SMA N 1 Matur. Teaching the basic movements of traditional dance is a strong foundation for developing a variety of creative dance movements. During the performance, it was also seen that the students' ability to dance creative dances in accordance with the dance techniques that had been taught was also increased. In addition, support from various parties and adjustments in the implementation of training are needed to achieve optimal results. These results support the research hypothesis and provide important implications for the development of dance programs in schools.
Pelaksanaan Ekstrakurikuler Seni Musik Tradisional di SMP Angkasa Lanud Sutan Sjahrir Padang Rakhma, Zilfia; Sari, Ayuthia Mayang
Jurnal Pendidikan Tambusai Vol. 9 No. 1 (2025)
Publisher : LPPM Universitas Pahlawan Tuanku Tambusai, Riau, Indonesia

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

Abstract

Penelitian ini bertujuan untuk mengidentifikasi faktor-faktor yang mempengaruhi rendahnya minat peserta didik, menganalisis peran dan kompetensi guru seni budaya atau pembina dalam mendukung minat peserta didik serta mengelola kegiatan ekstrakurikuler musik tradisional dengan efektif dan mengevaluasi pelaksanaan ekstrakurikuler musik tradisional. Penelitian jenis ini merupakan penelitian kualitatif dengan pendekatan deskriptif. Instrumen penelitian ini adalah peneliti sendiri dan dibantu dengan alat tulis dan kamera. Data dikumpulkan melalui studi pustaka, observasi, wawancara dan dokumentasi. Langkah-langkah menganalisis data adalah mengumpulan data, reduksi data, penyajian data dan menyimpulan data. Hasil penelitian menunjukkan bahwa kegiatan ekstrakurikuler musik tradisional memiliki tujuan utama untuk mengembangkan minat dan bakat peserta didik dalam bidang seni musik tradisional, khususnya musik tari Pasambahan dan lagu Bareh Solok. Kegiatan ini dilaksanakan setiap hari Rabu dari pukul 14.20 hingga 15.40 WIB, dengan jumlah peserta yang terlibat sebanyak tujuh orang, yang terdiri dari pemain talempong, canang, dan gendang. Metode pelatihan yang diterapkan dalam kegiatan ekstrakurikuler ini meliputi beberapa tahap, mulai dari pengenalan alat musik, latihan teknik dasar, pengajaran melodi dan notasi angka, hingga latihan berkelompok. Kegiatan ekstrakurikuler musik tradisional akan didampingi oleh guru pembina yang akan mengajarkan dan membimbing peserta didik. Kemudian, setelah kegiatan ekstrakurikuler musik tradisional selesai, maka guru pembina akan mengevaluasi bagaimana kegiatan pada hari ini. Evaluasi kegiatan dilakukan secara berkala untuk menilai perkembangan keterampilan peserta didik dan efektivitas metode pelatihan yang diterapkan, dengan hasil evaluasi yang digunakan sebagai dasar untuk perbaikan di masa depan.
Co-Authors Abdullah, Arohiyah Achour, Zyed Asrila, Agitia Kurniati Avila, Flor Amara Belirda Wulan Dhari Desfiarni Desfiarni Dilfa, Alrizka Hairi Fauzi, Fakhri Ferdian, Robby Fitria, Ressy Fuji Astuti Hidayat, Hengki Armez Indriyani Santoso Irdhan Epria Darma Putra Malikhatul Lailiyah Novita Efendi Pratama, Olan Yogha Rafli, Fajri Rakhma, Zilfia Rizal Kurniawan Syeilendra Syeilendra Tessa Makhmuddah Umrintha, Dinna Uswatul Hakim Yogha Pratama, Olan Yusman, Ahmad Fauzan