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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
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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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

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1171.201 KB) | DOI: 10.26887/jmen.v1i2.2242

Abstract

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.
GETTRUNG, NONCONVENTIONAL MUSICAL INSTRUMENT FROM WOOD Asep Saepul Haris
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 21, No 1 (2019): Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPMPP Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (729.176 KB) | DOI: 10.26887/ekspresi.v21i1.682

Abstract

Gettrung is a non conventional musical instrument which was produced from exploration. This  instrument was made of Surian dan Mahogany woods. The shape of Gettrung is quite simple, it looks like square. The sound elements of Gettrung were the result of the parts which follow the direction based on its shapes; circle and square. Cutting the line was done until the particular part, that line was not cut to the end of the line. It means there were still some part left and it caused the vibration which produce the sound at the end (trung). This instrument was finally named as Gettrung, it comes from Get which means vibrating sound and trung which means the result of the final sound. Gettrung was categorized into percussion type. The existence of Gettrung contributes to the capability to collaborate with other instruments which have had convention (basic/standard).
PADUYA: SEBUAH KOMPOSISI MUSIK DALAM EUFORIA MAULUIK DI PADANG PARIAMAN, SUMATERA BARAT Andika Bayu Putra; Asep Saepul Haris; Ediwar
Journal of Innovation Research and Knowledge Vol. 1 No. 3: Agustus 2021
Publisher : Bajang Institute

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Abstract

Paduya is the title of an archipelago music composition that originates from the phenomenon of community euphoria at a Mauluik event in Village Lareh Nan Panjang, District VII Koto Sungai Sariak, Padang Pariaman Regency, West Sumatera Province. Paduya is a form of enthusiasm from the community in celebrating Mauluik in Padang Pariaman Regency, so that the form of Mauluik celebration in Padang Pariaman Regency, especially Of Village Lareh Nan Panjang, is very much different from the Mauluik celebration in other areas, especially West Sumatra region. The contexts obtained from the research include; spirit, mutual cooperation, competition, and celebration. Effort are made to interpret the context is to make an analogy into the work of the musical compositions. The first part interprets the spirit and mutual cooperation of the community in the celebration of the Prophet's birthday with the title Sabiduak Sadayuang's. The second part is an attempt to interpret the existence of clashes, competitions, and social gaps with the title of Sejang's. In the third part, the form of interpretation of the Paduya. The metod of creation is done through literature study, observasion, studio work, and completion. The creation of this new work is obtained through the process of obseving an activity and is applied to the form of an archipelago music composition. The approach used is the tradition approach, Re-interpretation, and World Music. The purpose of the celebration of the Prophet Muhammad SAW’s birthday in Lareh Nan Panjang Village, District VII Koto Sungai Sariak, Padang Pariaman District, West Sumatera Province.
SALINGKA KATO Laila Okta Triani; Asep Saepul Haris; Nursyirwan; Ediwar
Journal of Innovation Research and Knowledge Vol. 1 No. 4: September 2021
Publisher : Bajang Institute

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Abstract

Salingka Kato is the title of a compositional creation of Indonesian music originating from the phenomenon of the customary system in Jorong Pabalutan, Kanagarian Rambatan. The choice of title was related to the context and consideration of the form of working for the creation as a whole. The customary system found in the Jorong Pabalutan Kanagarian Rambatan community became the source of the work creation. The contexts obtained from the research were regeneration, socialization and synchronization. The creation effort which was done to interpret the context was to make an analogy into the work of music by considering the musical capital and the form of the work. The first part is about interpreting the deal that developed in the demands of regeneration with tittle of work Babalah Sibak Baju. The second part is about interpretation effort on dialectics that happen because of dissent in deliberation and congregation. On the third part, the interpretation about the differences can be accepted by the public with a Sasuai tittle. The work approach used in the embodiment of Salingka Kato's work was Re-Interpretation and the form of the work creation presented was not related to the musical culture used.
‘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

Abstract

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

Abstract

-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

Abstract

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.
“BE YOURSELF” (The Creation of a Music Composition) Asep Saepul Haris; Rahayu Supanggah; Pande Made Sukerta; Bambang Sunarto
PANGGUNG Vol 27 No 4 (2017): Comparison and Development in Visual Arts, Performing Arts, and Education in Con
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v27i4.287

Abstract

AbstractAn artistic workmanship is a creative work process of an artist in creating artworks. Artwork meant by the writer is "Be Yourself", which is related to the establishment of his self-characters that grown up in Sundanese culture. Life journey was a dynamic process and became the will of the Almighty. God's destiny and life journey made the writer as “urangsumando” (people related by marriage) in Minangkabau. Cross-cultural was a life journey to be (yourself) and the destiny he should do – being in two different culture positions. Such differences did not automatically make the writer soluble in integration – he existed in two conceptions. In the realization, how the concepts are able to deliver other offers which have contribution to the development of artistic creation. The discussion in this article is the artistic forms as the exploration, working material, and forms of performance.Keywords: artistic, workmanship, music work 
“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

Abstract

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 Tali Panimbang : Kestabilan Dawai dan Panimbang Raso Jo Pareso Asifa Askhan; Asril Asril; Asep Saepul Haris
Gestus Journal: Penciptaan dan Pengkajian Seni Vol 2 No 2 (2022): GESTUS JOURNAL : PENCIPTAAN DAN PENGKAJIAN SENI
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gsts.v2i2.40061

Abstract

Karya komposisi musik œTali Panimbang terinspirasi dari dawai pada instrumen rabab pasisia, khususnya dawai nomor empat yang tersusun paling atas dari susunan dawai pada rabab pasisia, yang tidak difungsikan sebagai sumber bunyi. Namun difungsikan sebagai penyeimbang getaran dan penghasil bunyi untuk dawai satu, dawai dua, dan dawai tiga. Dawai empat memiliki makna manimbang-nimbang raso jo pareso (menimbang rasa dan periksa ), yang mengartikan bagaimana seseorang hidup seimbang, arif, dan bijaksana antara sesama manusia.Kata Kunci: komposisi; dawai empat; penyeimbang; manimbang raso jo pareso; tali panimbang
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