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All Journal Gorga : Jurnal Seni Rupa Panggung Laga-Laga: Jurnal Seni Pertunjukan Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Besaung : Jurnal Seni Desain dan Budaya Melayu Arts and Performance Journal Musik Etnik Nusantara Journal of Innovation Research and Knowledge Ezra Science Bulletin Panggung Gestus Journal

Asep Saepul Haris, Asep Saepul

Institut Seni Indonesia Padang Panjang

Author-ID : 625902

Religion Arts Humanities Computer Science & IT Economics, Econometrics & Finance Education Health Professions Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Social Sciences Other

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Articles

Title

Syncop Section Inspirasi Vokal Goreh Tapuk Galambuak Randai Minangkabau dalam Karya Komposisi Musik Karawitan Wikal Husni; Asep Saepul Haris; Rafiloza Rafiloza; Muhammad Zulfahmi
Jurnal Musik Nusantara Vol 1, No 2 (2021): JUrnal Musik Etnik Nusantara
Publisher : Institut Seni Indonesia Padangpanjang

This musical composition, entitled Syncop Section, was inspired by the game Tapuak Galambuak, the traditional art of Randai in Minangkabau. Tapuak Galambuak is a very interesting game movement in Randai's energetic performance and serves as a transition from changing story segments in Randai art. The Tapuak Galambuak game has a musical movement, in which there is a Goreh vocal music system which is played in a syncopated game pattern with vocal syllables such as hep, tah, tih, has, intertwined with each other by clapping hands on galembong. The principle of the Tapuak Galambuak game has similarities with the rhythm of jazz music such as syncopation, improvisation and unison, so that it becomes a unique one if it is collaborated. Furthermore, the Syncop Section combines two different types of typical music (Tapuak Galambuak and Acid Jazz) but have the same playing principle. Acid Jazz is part of the Jazz music genre that combines several elements from other genres such as Funk, Disco, and Soul. Syncop Section's musical compositions are made using the popular music approach method in the Acid Jazz sub-genre using basic concepts and developments that give rise to a musical collaboration. This work is shown in audio visual form using the concept of Work From Home during the current pandemic. The form of application of this work is presented by means of audio-visual performances aimed at reaching a wider audience.

‘Dagam’ Kesenian Indang di Desa Mangoe Kabupaten Padang Pariaman Provinsi Sumatera Barat Ariyan Bur; M. Arif Anas; Asep Saepul Haris; Arnailis Arnailis
Jurnal Musik Nusantara Vol 2, No 1 (2022): Jurnal Musik Etnik Nusantara
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/jmen.v2i1.3088

ABSTRAKKesenian indang Pariaman adalah salah satu kesenian tradisi bernafaskan Islam. Namun seiring dengan perkembangan sosial budaya masyarakat pendukungnya, kesenian ini mengalami perkembangan menjadi kesenian rakyat yang tidak lagi dipertunjukan di surau, tetapi diluar surau, seperti di tempat-tempat terbuka, rumah-rumah penduduk, panggung pertunjukan, laga,laga dan sebaginya. Selain itu terjadi juga perkembangan dari segi teks, struktur sajian, bentuk penyajian, dan bahkan sistem pengelolaan. Indang memiliki struktur permainan yang terdiri dari darak panjang, imbauan lagu, darak pendek, nyanyian atau lagu, darak panjang. terdapat beberapa macam darak diantaranya: darak tujuah, darak kupak kapiak, darak tereang ka tereang, yang mana setiap pola awal atau pembuka darak berda-beda, hal ini lah yang menjadi pedoman oleh para anak Indang agar mengetahui darak apa yang akan dimainkan. Karya komposisi musik karawitan yang berjudul “Dagam” ini terinspirasi dari kesenian tradisi indang Pariaman yaitu pada darak tereang ka tereang. Pada darak tereang ka tereang tersebut pengkarya tertarik pada pola awal yang memiliki siklus pola yang lebih panjang dari pada darak yang lain. Dalam pengamatan pengkarya terhadap darak tereang ka tereang yang memiliki siklus pola yang panjang ini, pengkarya juga menemukan berbagai motif ritem yang dapat dikembangkan kembali. Karya komposisi musik “Dagam” ini digarap dengan menggunakan metode pendekatan tradisi. mewujudkan ide/gagasan yang bersumber dari kesenian Indang Pariaman, yang terinspirasi dari darak tereang ka tereang dengan menggunakan pendekatan tradisi yang berjudul “Dagam” disajikan dalam bentuk pertunjukan secara lansung. Melalui garapan karya komposisi music “Dagam” pengkarya mencoba menghadirkan beberapa bentuk inovasi (kebaruan) dalam berbagai aspek garap sesuai dengan konsep yang ditawarkan. Kata Kunci: Indang Piaman; Darak Tereang ka Teranag; Pendekatan Tradisi ABSTRACT Indang is one of the performing arts with Islamic breath in Minangkabau. However, along with the socio-cultural development of the supporting community, This performing art has developed into a folk performing art which is no longer performed in surau, but outside the surau, such as in open places, people's houses, stage performances, fights, matches and so on. In addition, there have also been developments in terms of text, presentation structure, form of presentation, and even management systems. Indang has a game structure consisting of a long darak, an appeal to a song, a short darak, a song or song, a long darak. There are several types of darak including: darak tujuah, darak kupak kapiak, darak tereang ka tereang, where each initial pattern or opening of darak is different, this is the guideline for Indang children to know what darak will be played. This musical composition entitled "Dagam" was inspired by the traditional art of Indang Pariaman, namely darak tereang ka tereang. In the darak tereang ka tereang, the author is interested in the initial pattern which has a longer pattern cycle than the other daraks. In the artist's observation of the darak tereang ka tereang which has a long pattern cycle, the artist also finds various rhythmic motifs that can be redeveloped. The musical composition "Dagam" was worked on using the traditional approach method. realizing ideas/ideas originating from the art of Indang Pariaman, which was inspired by darak tereang ka tereang by using a traditional approach entitled “Dagam” presented in the form of a live performance. Through the work of the musical composition "Dagam" the artist tries to present several forms of innovation (newness) in various aspects of working according to the concept offered. Keywords: Indang Pariaman; Initial Pattern; Darak Tereang ka Tereang; Tradition Approach

Lagu Buaian Sarin Inspirasi Penciptaan Komposisi Musik Dua Jiwa Dalam Buaian Azzura Yenli Nazrita; Syahri Anton; Asril Asril; Asep Saepul Haris
Jurnal Musik Nusantara Vol 2, No 2 (2022): Jurnal Musik Etnik Nusantara
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/jmen.v2i2.3202

-Talempong merupakan salah satu ensambel musik tradisional yang dimiliki oleh beberapa nagari dalam wilayah Minangkabau, Genre talempong yang terdapat di Minangkabau meliputi talempong pacik dan talempong duduak. Salah satu jenis dari talempong duduak adalah ensambel talempong limo yang terdapat di Koto Tinggi Nagari Ampek Koto Palembayan Kecamatan Palembayan Kabupaten Agam, salah satu ciri khas lagunya adalah lagu buayan sarin. Buayan Sarin ini memiliki unsur musikal dengan pola melodi yang bersifat tanya jawab dan terkesan bolak balik yang bagi masyarakat Nagari Koto Tinggi pola melodi ini disebut juga dengan istilah buai, pola melodi ini menjadi dasar garapan bagi pengkarya untuk dijadikan sebagai sebuah bentuk karya komposisi musik yang penggarap beri judul dengan “Dua Jiwa dalam Buaian”. Karya komposisi musik ini diwujudkan dengan menggunakan metode pendekatan World Music, dengan cara mengembangkan pola melodi lagu buayan sarin tersebut ke dalam bentuk lain serta menghadirkan beberapa bentuk kebaruan dalam berbagai aspek garap. Melalui garapan karya komposisi musik “Dua Jiwa Dalam Buaian” pengkarya mencoba menghadirkan beberapa bentuk inovasi (kebaruan) dalam berbagai aspek garap sesuai dengan konsep yang ditawarkan, tanpa mengabaikan kaidah–kaidah sebuah seni pertunjukan dengan harapan karya ini bisa memberikan warna baru dan berkontribusi dalam perkembangan ilmu pengetahuan yang berkaitan dengan penciptaan seni musik.

Komposisi Musik Marango Pendekatan Tradisi Musik Runguih Panutuik Dari Dendang Ratok Paninggahan Dwi Syahputra; Firman Firman; Asep Saepul Haris
Jurnal Musik Nusantara Vol 3, No 2 (2023): Jurnal Musik Etnik Nusantara
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/jmen.v3i2.4065

Ratok Paninggahan is an art form found in Nagari Paninggahan, Junjung Sirih District, Solok Regency, West Sumatra. in the middle of the house as an expression of sadness and disappointment and regret over the death of a family member. However, after the entry and development of Islam in Minangkabau, this activity is no longer functioned because it is contrary to Islamic teachings. This results in the disappearance of the ratok paninggahan existence in the death ritual. However, the local community is very enthusiastic about maintaining Ratok Paninggahan as part of their culture, so that Ratok Paninggahan can be present again in their community in a different context. The existence of ratok paninggahan in its supporting community has always experienced various developments that have brought ratok paninggahan into various changes. The phenomenon of changes in ratok paninggahan offers various interesting aspects to study, but in this paper it will be limited to two main things, namely how ratok paninggahan is presented and how ratok paninggahan functions in its supporting community. The method used is descriptive analysis method.

“BASINTOJIK” BERSUMBER DARI KESENIAN “CALEMPONG RARAK GODANG” DI KABUPATEN KUANTAN SINGINGI PROVINSI RIAU Azrizer, Azrizer; Haris, Asep Saepul; Arnailis, Arnailis
Jurnal Musik Etnik Nusantara Vol 4, No 2 (2024): Jurnal Musik Etnik Nusantara
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/jmen.v4i2.4622

The composition "Basintojik" is a musical composition inspired by the art of calempong rarak godang which was born and developed in the Kuantan Singingi Regency, Riau Province. This art is usually performed at various traditional events and important ceremonies, such as weddings, religious celebrations, silek, and processional music at track events. Calempong rarak godang has several repertoires including Kedidi, Tigo-tigo, Ciek-ciek, Tak tendut, Gelang-gelang, Kacimpuang, Gamiak-gamiak and Pik tontong. The results of the artist's analysis of the art of Calempong Rarak Godang found that the beginning of each song always has the same rhythm pattern and also every Calempong Rarak Godang repertoire always ends using the same ending melody (bonti) using meter three or a 3/4 melody pattern. The principle of the bonti melody, which is always the same, became the basic idea in the work which was done using the World Musik approach, giving birth to a new composition entitled "Basintojik".

Komposisi Musik Semarak Sipai Bersumber Dari Beruji Dol Dalam Upacara Tabot Di Kota Bengkulu Purwanda, Sandy; desmawardi, desmawardi; Haris, Asep Saepul
Jurnal Musik Etnik Nusantara Vol 4, No 1 (2024): Jurnal Musik Etnik Nusantara
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/jmen.v4i1.4223

Music is a means of expressing the soul to communicate and interact between living creatures. Through music we can express various ideas with various colors of sound produced by any object that can accommodate the idea itself. Sounds and voices are arranged well so that a musical work is created as a harbor for ideas that are full of messages and meaning. This work begins with research on the Bruji Dol performance and from the results of the analysis, a conclusion is drawn to take one part, namely the song Girik" which is contained in the Bruji Dol performance in the Tabot ceremony in the city of Bengkulu. Beruji dol is a depiction of the spirit of war carried out by two groups, namely Tabot Bangsal and Tabot Imam. Beruji dol has an interesting musical case, namely that there is a game concept that is "freely bound" in the tasa game of the Tamatam repertoire called "Girik". To create the musical composition "Semarak Sipai" it was worked on using the Analytical Descriptive method using a Re-interpretation of Tradition approach. Through the creation of the musical composition "Semarak Sipai", the creator tried to present several forms of novelty in various aspects of the work in accordance with the concept offered. The Tradition Re-interpretation approach is used to share musical experiences as a contribution to the development of the musical composition itself.

Komposisi Musik Svarasa Bersumber Dari Dendang Panjek Panjek Tabulusui Randai Kuantan Kabupaten Kuantan Singingi Provinsi Riau Prayoga, Renol; Haris, Asep Saepul
Jurnal Musik Etnik Nusantara Vol 5, No 2 (2025): Jurnal Musik Etnik Nusantara
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/jmen.v5i2.6097

Komposisi “SvaRasa” merupakan komposisi musik nusantara yang bersumber dari dendang panjek-panjek tabulusui kesenian Randai Kuantan yang lahir dan berkembang di daerah Kabupaten Kuantan Singingi, Provinsi Riau. Kesenian ini biasanya dipertunjukkan dalam acara pembukaan pacu jalur, perkawinan, khitanan, turun mandi. Randai Kuantan memiliki beberapa repertoar untuk mengiringi cerita yaitu Bintang Timur, Olang Binti, Panjek Panjek Tabalusui, Lomak Dek Awak Katuju Pulo Dek urang, dan lagu-lagu lainnya. Dari analisis pengkarya menemukan keunikan pada melodi penutup yang disebut pamotih, pamotih adalah bahasa lokal Taluk Kuantan yang memiliki arti berhenti (mengakiri lagu randai dalam permainan viola), dimana transisi dari lagu ke melodi penutup ini terdapat permainan nada yang tiba-tiba naik (Ascending), serta terdapat perubahan nada dari mayor ke nada minor yang berubah pada pertengahan melodi penutup. Prinsip melodi Ascending tersebut menjadi ide dasar dalam penggarapan komposisi musik nusantara yang digarap menggunakan pendekatan Populer Melayu sehingga melahirkan karya komposisi musik baru yang diberi judul “SvaRasa”.

Co-Authors Ahmad Wanda Andar Indra Sastra Andika Bayu Putra Anggra Dinata Apandi, Jefri Ariyan Bur Arnailis Arnailis Arnailis Arnailis Asifa Askhan Asril Asril ASRIL ASRIL Aznal Mad’Hattari Azrizer, Azrizer Azzura Yenli Nazrita Bambang Sunarto Cepri Zulda Putra Desmawardi, Desmawardi Dwi Syahputra Ediwar Ediwar Firman Firman Firman Firman Hadi Suhendra Hendri Koto Laila Okta Triani M. Arif Anas Mahendra, Restu Martarosa Martarosa Muhammad Zulfahmi Nursyirwan Nursyirwan Pande Made Sukerta Pande Made Sukerta, Pande Made Prayoga, Renol Purwanda, Sandy Rafiloza Rafiloza Rahayu Supanggah Rahayu Supanggah, Rahayu Reliansya, Yolanda Rozak, Abdul Syahri Anton Vereki Martiano Wikal Husni Wilma Sriwulan

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