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All Journal Ekspresi: Indonesian Art Journal Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) PROMUSIKA: Jurnal Pengkajian, Penyajian, dan Penciptaan Musik Harmonia: Journal of Research and Education Catharsis Journal of Music Science, Technology, and Industry (JOMSTI) IDEA: Jurnal Seni Pertunjukan
Andre Indrawan
Institut Seni Indonesia Yogyakarta
Arts Humanities Education Environmental Science Languange, Linguistic, Communication & Media Social Sciences Other

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Bentuk Sonata Konserto Ritornello Klasik pada Gerakan Pertama Concerto in G for Flute karya W.A. Mozart (1756-1791) Andre Indrawan
PROMUSIKA Vol 7, No 2 (2019): Oktober 2019
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/promusika.v7i2.3452

Abstract

This study analyzes the musical structure of classical ritornello of Mozart’s Concerto in G for Flute, K.131. Problem that is discussed here is where the changing spots of sonata form’s main sections happened in this Mozart work? The purpose is to gain an understanding of the application of sonata form in early ritornello classical concerto. To achieve the goal this study utilizes the theoretic-analytical method. Analitically, subject is reconstructed into parts to understand their relationship that leads into its formal unity as a compositional work. Theoretically, analysis findings are confirmed to theories of musical forms. Through this theoretic-analytical method this study concludes that even though composed in ritornello style this work applies the standard sonata Allegro form. Kajian ini menganalisis bentuk musik konserto ritornello klasik dari Concerto in G for Flute, K.131, karya W.A. Mozart. Permasalahan yang dibahas ialah di manakah titik-titik perubahan seksi-seksi utama bentuk sonata yang terjadi pada karya Mozart ini? Tujuan kajian ini ialah untuk memperoleh pengetahuan mengenai penerapan bentuk sonata pada konserto klasik awal yang bergaya ritornello. Guna mencapai tujuan tersebut kajian ini menerapkan metode analitikal-teoretis. Secara analitikal, karya ini didekonstruksi ke dalam bagian-bagian guna memahami keterkaitan bagian-bagian tersebut  yang membawa pada suatu kesatuan bentuk sebagai sebuah karya. Secara teoretik temuan dari analisis ini dikonfirmasikan pada teori-teori bentuk musik yang relevan. Melalui metode analitikal-teoretis tersebut kajian ini menyimpulkan bahwa walaupun terbingkai oleh gaya ritornello, karya ini menggunakan bentuk sonata Allegro.
Orkes Keroncong Nada Kasih di Yogyakarta dan Peranannya dalam Melestarikan Nasionalisme Musik Keroncong Wisnu Mintargo; Iwan Budi Santoso; Andre Indrawan
PROMUSIKA Vol 7, No 2 (2019): Oktober 2019
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/promusika.v7i2.3532

Abstract

This study examines the activities of the Orkes Keroncong (OK) Nada Kasih conducted by Fx Supardi who has given a positive impact on the development of Keroncong music in the Sleman Regency of Yogyakarta. This research reveals how the efforts made by Fx Supardi with his OK Nada Kasih in conserving the keroncong music. To answer these problems, this study utilizes descriptive qualitative methods. This study concludes that the OK Nada Kasih’s programs aim to conserve and develop keroncong music so that it will be favored by the Indonesian community, especially the younger generation. Its program that encompasses public performances, social gatherings, and other social activities has made this band continues to work as the potential keroncong orchestra. By consistently developing as well as disseminating its keroncong music repertoire this band has given a great contribution to public services in strengthening national identity so that public services in developing the nation have chronologically improved. The Penelitian ini mengkaji aktivitas Orkes Keroncong (OK) Nada Kasih pimpinan Fx Supardi yang telah memberikan dampak positif pada perkembangan musik Keroncong di Kabupaten Sleman, Yogyakarta. Penelitian ini mengungkap bagaimana upaya yang dilakukan Fx Supardi dengan OKNada Kasih-nya dalam melestarikan musik keroncong. Untuk menjawab masalah ini, penelitian ini menggunakan metode deskriptif kualitatif. Studi ini menyimpulkan bahwa program-program OK Nada Kasih bertujuan untuk melestarikan dan mengembangkan musik keroncong sehingga akan disukai oleh masyarakat Indonesia, terutama generasi muda. Program-programnya yang meliputi pertunjukan publik, pertemuan sosial, dan kegiatan sosial lainnya telah membuat kelompok musik ini terus bekerja sebagai orkestra keroncong yang potensial. Dengan secara konsisten mengembangkan serta menyebarkan repertoar musik keroncongnya, OK Nada Kasih ini telah memberikan kontribusi yang besar terhadap layanan publik dalam memperkuat identitas nasional. Sehubungan dengan itu layanan publik dalam membangun bangsa telah meningkat secara kronologis.
Meyer’s Approach on Musical Analysis and Its Relevance to Indonesian Analytical Study of Western Music Andre Indrawan
Journal of Music Science, Technology, and Industry Vol. 3 No. 1 (2020)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (911.858 KB) | DOI: 10.31091/jomsti.v3i1.959

Abstract

This critical review of Leonard Bunce Meyer's musical analysis theory is aimed at obtaining a basic understanding of an approach that seems uncommon in Indonesian studies of Western music. This study uses a speculative method with descriptive as well as critical approaches, where Meyer's analysis theory is depicted critically by conforming it toward Nicolas Cook's critical review which was based on the Shenkerian concept. The relevance application of this analysis model in the studies of musical form in Indonesia then is discussed. This study concluded that the psychological music analysis of Meyer was carried out by the foreground expectations of the tonal music linear and rhythmical analysis. Compared to the Shenkerian approach which gives greater attention to the harmonic reduction that focused on the harmonic background of tonal music, Meyer’s approach would be less practical in observing at large-scale musical structures. Meyer’s analysis would be valuable to the performers as well as music analysts if they also take into account their musical style concepts which mostly regarded as the area of aesthetic rather than technical analysis. For Indonesia, this method is appropriate for Master and Doctorate studies in Western Music.
Perjuangan Mahasiswi Gitar Klasik pada Jenjang Pendidikan Sarjana Musik di Indonesia Andre Indrawan; Dara Benita Titihalawa
Journal of Music Science, Technology, and Industry Vol. 5 No. 2 (2022)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (342.821 KB)

Abstract

The population of guitar students in the Bachelor of Music Study Program, Faculty of Performing Arts, Institut Seni Indonesia Yogyakarta, is dominated by male students. Purpose: This study aims to uncover women's efforts in gaining learning achievement in the context of guitar studies at the Indonesian higher education level. Research Method: This study uses qualitative research methods with interview instruments. However, in the analysis of some preliminary data using a quantitative approach. Result and discussion: Results and Interviews with four female alums and four active students provided information about their effort in pursuing Bachelor's studies with a classical guitar major. The analysis includes motivation, learning process, gender, and expectations. Implication: This study concluded that all subjects were not affected by the dominance of men in the guitar student population at ISI Yogyakarta. For them, gender does not affect the quality of learning outcomes; instead, perseverance and enthusiasm for learning play an important role.
Kritik terhadap Pendekatan Psikologi Meyer dalam Analisis Musik Andre Indrawan
EKSPRESI Vol 10, No 1 (2010)
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ekp.v10i1.7854

Abstract

Criticism toward Meyer’s Psychological Approach in Music Analysis. This paper discusses a psychological approach to music analysis introduced by Leonard Meyer that has been criticized by Nicolas Cook (1987). Meyer’s rhythmical and linear analysis which focused on the foreground expectation is less practical in observing large-scale musical structure. In terms of its benefit to advancing musical performance interpretation, the strength and weakness of the approach have been compared to the Shenkerian method which gives more attention to the harmonic reduction that focused on the harmonic background. Although the critic concentrates on technical analysis only, Meyer’s analysis would be valuable to the Shenkerian side if they also take into account his concept of musical style which is mostly regarded as the area of aesthetic rather than technical analysis.  Keywords: Critic, psychological of music, music analysis
Individual-based versus Group-based Instructions in Classical Guitar Teaching at Indonesian Tertiary Arts Education Andre Indrawan; Agnes Iklimah
Catharsis Vol 12 No 1 (2023)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v12i1.71353

Abstract

Higher education policy implementation impacts more programs’ development of new music studies that cause the emergence of different classical guitar study curricula with their durations and credit weights varieties, which overlap each other. There has also been a new discourse on controversial group-based instruction strategies in instrumental training among teachers who have been using individual-based in running classical guitar courses. The aim of this research is to investigate the shifting discourse from individual to group instructions in classical guitar courses. This study uses a qualitative survey of several classical guitar teachers at four music departments in Indonesian art universities. In conclusion, almost all teachers apply individual instruction and it seems that they opposed the discourse of classical guitar group instruction. Although they also recognise the benefits of the group-based instruction model, up to date the students-teachers ratio for classical guitar studies is still between one to five students, so individual instruction is more reasonable to apply. This research offers the basic concept of developing a blended learning model that combines individual and classroom instruction strategies to anticipate the future growth of classical guitar student interest.
Kendala Mahasiswa Baru dalam Mengikuti Perkuliahan Gitar Klasik pada Tingkat Perguruan Tinggi Situngkir, Rhoyda Nhovriana; Indrawan, Andre; Rokhani, Umilia
Ekspresi Vol 13, No 2 (2024)
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ekp.v13i2.14093

Abstract

Mahasiswa baru program Sarjana di Jurusan Musik umumnya menghadapi kendala dalam mengikuti kuliah gitar klasik karena sebelumnya tidak pernah mempelajari instrument tersebut secara formal. Tujuan penelitian ini adalah untuk mengetahui kendala apa saja yang di alami mereka dan mencari kemungkinan solusinya. Penelitian ini menggunakan metode penelitian kualitatif dengan mengumpulkan informasi dari beberapa mahasiswa aktif gitar klasik yang menghadapi kendala tersebut. Hasil penelitian ini adalah informasi tentang kendala yang mereka hadapi, kemungkinan penyebabnya, dan solusi dari perspektif mahasiswa. Dari hasil penelitian tersebut diperoleh fakta bahwa seluruh responden tidak bisa membaca not balok sehingga kemandirian dalam mempelajari materi kuliah sangat minim. Guna mengatasi masalah tersebut mereka berkonsultasi kepada para senior. Masalah tersebut sedikit demi sedikit teratasi karena terbantu oleh kuliah-kuliah teori musik dan solfegio. Sebagai kesimpulan, sebenarnya tidak ada kendala yang berarti, kecuali kecemasan dalam menghadapi hal baru karena pada akhirnya dapat teratasi melalui proses adaptasi baik secara formal di dalam perkuliahan maupun di luar perkuliahan. Kata kunci: gitar klasik, perguruan tinggi seni, kendala mahasiswa AbstractNew Student Obstacles in Taking Classical Guitar Lectures at the College. New students of the Bachelor program in the Department of Music generally face obstacles in taking classical guitar courses because they have never studied the instrument formally before. The purpose of this study is to find out what obstacles they experience and find possible solutions. This study uses qualitative research methods by collecting information from several active classical guitar students who face these obstacles. The results of this study are information about the obstacles they face, possible causes, and solutions from a student's perspective. From the results of this study, it was found that all respondents could not read musical notes so independence in studying lecture material was minimal. In order to overcome this problem, they consulted the seniors. This problem was gradually resolved because lectures on music theory and solfeggio helped. In conclusion, there are actually no significant obstacles, except anxiety in dealing with new things because in the end they can be overcome through adaptation processes both formally in lectures and outside lectures. Keywords: classical guitar, art institute, student constraints
The Sacred and the Sinister: A Musicological Inquiry into Ave Satani in The Omen Indrawan, Andre; Julio, Christofer; Van Ness, Edward Christian
Resital: Jurnal Seni Pertunjukan Vol 25, No 3 (2024): Desember 2024
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v25i3.14890

Abstract

No horror film song has won the Academy Award for Best Original Song, yet Jerry Goldsmith’s Ave Satani from The Omen (1976) remains the only nominee. Its fusion of Latin liturgical elements, ritualistic rhythms, and dissonant harmonies enhances the film’s dark symbolism. This study analyzes Ave Satani through a musicological approach, exploring its composition, thematic role, and cultural impact. Findings reveal its significance in reinforcing The Omen’s conflict between good and evil, highlighting the importance of interdisciplinary perspectives in film music analysis and the potential of thematic scoring to deepen cinematic storytelling.
Pengembangan Bahan Ajar Mata kuliah Ensambel Gitar pada Program Studi Sarjana Musik Melalui Aransemen Lagu Suwe Ora Jamu Kustap, Kustap; Sitorus, Eritha Rohana; Danajaya, I Made Indra; Indrawan, Andre
PROMUSIKA Vol 9, No 1 (2021): April 2021
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/promusika.v1i1.5844

Abstract

AbstrakMateri pembelajaran ensemble gitar di perguruan tinggi seni di Indonesia hingga saat ini masih menggunakan repertoar komposer internasional dengan jumlah terbatas. Penerapan materi pembelajaran yang sama setiap semester tidak hanya membosankan bagi mahasiswa tetapi juga bagi dosen. Penelitian ini bertujuan untuk memperkaya repertoar pembelajaran ensemble gitar melalui pembuatan aransemen dari konten lokal dalam hal ini adalah Suwe Ora Jamu dari Yogyakarta dan Jawa Tengah. Metode yang digunakan dalam penelitian terapan ini adalah metode kualitatif. Objek penelitian meliputi tempat penelitian, yaitu kampus Jurusan Musik FSP ISI Yogyakarta, dan responden, yaitu mahasiswa ansambel gitar. Kegiatannya adalah menyusun dan melatih hasil aransemen. Sedangkan subjek penelitian adalah peneliti sendiri. Tahap penelitian dimulai dengan cara menemukan dan memilih lagu daerah Indonesia untuk menyusun dan mengatur lagu, kemudian melatih mahasiswa untuk bermain aransemen, dan tampil dalam simulasi konser belajar di kelas. Penelitian ini menghasilkan sebuah prototipe aransemen ensemble gitar dengan sumber lagu-lagu daerahAbstract
Pengembangan Model Pembelajaran Dambus Berbasis Notasi Gitar untuk Pelestarian Musik Tradisional Bangka Susanto, Hadi; Indrawan, Andre
PROMUSIKA Vol 12, No 2 (2024): Oktober, 2024
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/promusika.v12i2.15682

Abstract

Dambus merupakan alat musik tradisional khas Bangka Belitung yang menunjukkan perkembangan signifikan baik dari segi kualitas maupun kuantitas. Secara kualitas, banyak perajin Dambus tersebar di seluruh Provinsi Kepulauan Bangka Belitung yang memproduksi instrumen ini hingga dipasarkan ke luar negeri. Sementara itu, secara kuantitas, jumlah pembuat, pemain, komunitas, dan penikmat musik Dambus juga terus meningkat. Namun, perkembangan ini belum diimbangi dengan sistem pelestarian yang memadai. Selama ini, pembelajaran Dambus dilakukan secara lisan, seperti halnya tradisi musik tradisional pada umumnya, sehingga berpotensi punah seiring waktu. Penelitian ini bertujuan merancang sistem pembelajaran Dambus berbasis notasi tertulis sebagai upaya pelestarian dan dokumentasi. Model yang dikembangkan mengadaptasi metode pembelajaran gitar, namun disesuaikan dengan karakteristik khas instrumen Dambus. Rancangan pembelajaran disusun secara bertahap, dimulai dari teknik dasar, notasi, hingga latihan-latihan fundamental. Diharapkan, sistem pembelajaran berbasis notasi ini dapat memperkuat eksistensi musik Dambus dan mendorong lahirnya karya-karya baru yang terdokumentasi dengan baik.Developing a Dambus Learning Model Based on Guitar Notation for the Preservation of Bangka Traditional MusicAbstractDambus is a traditional musical instrument native to the Bangka Belitung Islands that has shown significant development in both quality and quantity. In terms of quality, numerous Dambus craftsmen are spread across the Bangka Belitung Province, producing instruments that are even marketed internationally. Quantitatively, the number of makers, performers, communities, and enthusiasts of Dambus music continues to grow. However, this progress has not been matched by an adequate preservation system. Until now, Dambus learning has been conducted orally, as is common in traditional music practices, making it vulnerable to extinction over time. This study aims to design a written notation–based learning system for Dambus as a means of preservation and documentation. The model developed adapts guitar teaching methods but is modified to suit the distinctive characteristics of the Dambus instrument. The instructional framework is structured gradually, beginning with basic techniques, notation, and fundamental exercises. It is expected that this notation-based learning system will help strengthen the existence of Dambus music and encourage the creation of new, well-documented musical works.Keywords:  Traditional music of Bangka; instrumental music pedagogy; music notation system; Dambus
Co-Authors Agnes Iklimah Albarsani, Noer Iskandar Danajaya, I Made Indra Dara Benita Titihalawa de Fretes, Daniel Dewanto, Pandutama Eritha Rohana Sitorus Hadi Susanto Hanan, Athaya Hari Martopo Jati, Galih Pangestu Julio, Christofer Kustap Kustap legowo, adityo Mahardika, Adi Surya Malik Hasanudin Aulia Pahriyawan, Deni Pipin Garibaldi Rachel Yohana Adriana Napitupulu Santoso, Iwan Budi Silitonga, Novita Sondang Monica Simbolon, Hadri Saprian Sitinjak, Linda Sitorus, Eritha Rohana Situngkir, Rhoyda Nhovriana Suryati Suryati Suryati Suryati SUSANTI ANDARI Umilia Rokhani Ummy Khalsum Van Ness, Edward Christian Veronica Yoni Kaestri Wisnu Mintargo