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FAKTOR PENUNJANG PERTUNJUKAN MUSIK: INPUT, PROSES, DAN OUTPUT Jatmika, Ovan Bagus
Journal of Music Science, Technology, and Industry Vol 3 No 1 (2020)
Publisher : Institut Seni Indonesia Denpasar

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This research examines the supporting factors in improving the quality of musical performances. The method used is qualitative and the research data are found through library research. The author concludes that a performance is considered to have ideal conditions if it involves three elements that support each other in the process towards the end of the musical execution on the stage, namely input, process, and output. These three elements (input, process, and output) are expected to improve the quality of the performance. The intended form of quality improvement is the formation of two-way communication or dialogue between the player and the audience. The player conveys the musical content of their interpretation of the work being played, while the audience responds to the standard measure of musical, visual and gestural norms that they have / believe in. Keywords: musical stimuli, musical emotions, learning motivation, exercise effectiveness, musical memory.

Suita Zodiak: Komposisi Musik untuk String Kuartet dan Trio Woodwind Ovan Bagus Jatmika
Journal of Urban Society's Arts Vol 3, No 1 (2016): April 2016
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jousa.v3i1.1472

Zodiak adalah rasi bintang di sepanjang garis ekliptika yang terdiri atas 12 bagian, yaitu Aries, Taurus, Gemini, Cancer, Leo, Virgo, Libra, Scorpio, Sagitarius, Capricorn, Aquarius, dan Pisces. Ke-12 zodiak tersebut memiliki karakter yang berbeda karena dibedakan oleh modus (cardinal, fixed, mutable) dan elemen (api, tanah, udara, air) yang menyusunnya. Fenomena ini, dalam konteks komposisi musik, merupakan hal-hal ekstra musikal. Hal-hal ekstra musikal inilah yang akan diangkat ke dalam komposisi musik programa dengan judul “Suita Zodiak”. Komposisi ini disusun dalam 12 gerakan dan disusun dalam 12 tonalitas yang berbeda. Masing-masing gerakan menggambarkan karakter 12 zodiak dari Aries hingga Pisces. Karakter dari ketiga modus yang menyusun zodiak ditransformasi ke musik melalui pembedaan tekstur, sedangkan karakter dari keempat elemen yang menyusun zodiak ditransformasi ke musik melalui pembedaan karakter melodi, suasana musikal, dan pembedaan tempo. Pemaknaan tentang karakter 12 zodiak kemudian dijadikan batasan dalam penciptaan “Suita Zodiak” bersifat arbitrer. Hal ini mengacu pada beberapa karya yang pernah diciptakan sebelumnya, yang sebagian besar menghubungkan karya musik dengan unsur ekstra musikalnya secara arbitrer. Karya ini digarap dalam format string kuartet dan trio woodwind dengan mengembangkan beberapa konsep melodi yang diambil dari thesaurus of scales and melodic pattern. Zodiac Suite: Music Composition for String Quaertet and Trio Woodwind. Zodiac is the constellations along the ecliptic line consisting of 12 parts, namely Aries, Taurus, Gemini, Cancer, Leo, Virgo, Libra, Scorpio, Sagitarius, Capricorn, Aquarius, and Pisces. The 12 zodiacs have different characters because they are distinguished by the mode (cardinal, fixed, mutable) and elements (fire, earth, air, water) that are arranged them. This phenomenon, in the context of musical composition, is extra-musical things. These extra-musical things will be lifted into musical composition program entitled “Suita Zodiak”. This music composition has been worked out in 12 movements and arranged in 12 different tones. Each movement describes the character of the 12 zodiacs from Aries to Pisces. The characters of the three modes setting up the zodiac will be transformed into music through texture distinction; meanwhile the characters of four elements that are creating the zodiac have been transformed into music through the distinction of the melodic character, musical atmosphere, as well as difference in tempo. The meaning of 12 zodiac characters are then used as constraints in the creation of the arbitrary Zodiac Suite. This refers to several masterpieces that had been previously created, most of which relate to musical masterpiece with arbitrary extra-musical element. This artistry has been created in the quartet string and trio woodwind format by developing several melody concepts that are taken from thesaurus of scales and melodic pattern.

Menelusuri Gejala Decategorization pada Karya Trois Saudade dari Roland Dyens Ovan Bagus Jatmika
PROMUSIKA Vol 8, No 1 (2020): April 2020
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/promusika.v1i1.3348

Di era postmodernisme saat ini, muncul berbagai ragam gaya dalam musik yang begitu masif. Kemunculan ragam gaya yang begitu masif ini membuat upaya pengkategorian musik menjadi semakin kompleks. David Cope mengistilahkan fenomena ini dengan istilah “decategorization”. Fenomena decategorization seringkali ditemukan dalam karya, yang, menurut David Cope disusun menggunakan beberapa pendekatan teknis kompositoris sebagai berikut: eclecticism, quotation, sectionalization, overlay, dan integration. Roland Dyens, komponis Perancis abad 21 adalah komponis yang sangat produktif dalam menghasilkan karya-karya untuk permainan gitar tunggal. Apa yang dia lakukan melalui karya-karyanya sejalan dengan tren umum pada musik abad 21 yang cenderung memasukkan berbagai idiom ke dalam karyanya untuk memunculkan unsur kebaruan. Berbagai ragam gaya yang dia gabungkan menjadi satu dalam karyanya menjadikan karyanya memiliki banyak wajah yang cenderung sulit untuk dikategorikan ke dalam salah satu gaya. Walaupun karya yang ia tulis adalah untuk instrument gitar klasik, namun warna jazz, etnis, folklore, hingga rock cukup terasa kuat dalam komposisinya. Hal inilah yang melatarbelakangi penulis untuk menelusuri lebih jauh gejala “decategorization” dalam karyanya yang berjudul “Trois Saudade” lewat parameter yang telah dijabarkan oleh David Cope.AbstractExploring the Symptoms of Trois Saudade's Decategorization from Roland Dyens. In the era of postmodernism today, a variety of styles in music are so massive. The emergence of a variety of styles that are so massive makes the effort to categorize music becomes more complex. David Cope termed this phenomenon with the term "decategorization". The decategorization phenomenon is often found in works which, according to David Cope, are prepared using the following compositional technical approaches: eclecticism, quotation, sectionalization, overlay, and integration. Roland Dyens, 21st century French composer is a composer who is very productive in producing works for solo guitar playing. What he does through his works is in line with general trends in 21st century music that tends to incorporate various idioms into his work to bring out an element of novelty. The variety of styles that he combined in his work makes his work have many faces that tend to be difficult to categorize into one style. Although the work he wrote was for classical guitar instruments, but the colors of jazz, ethnicity, folklore, even rock felt quite strong in its composition. This is the background of the writer to further explore the phenomenon of "decategorization" in his work entitled "Trois Saudade" through parameters that have been described by David Cope.Keywords: decategorization eclecticism; quotation sectionalization; integration; Roland Dyens; Trois Saudade

Efektivitas Pembelajaran Kontrapung Menggunakan Species Counterpoint Oriana Tio Parahita Nainggolan; Ovan Bagus Jatmika
PROMUSIKA Vol 8, No 2 (2020): Oktober 2020
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/promusika.v1i2.4404

Pembelajaran Kontrapung dilakukan dengan menggunakan dua cara yaitu stricht counterpoint dan free counterpoint. Pembelajaran Kontrapung dengan menggunakan stricht counterpoint dilakukan dengan menggunakan pendekatan species counterpoint. Species counterpoint adalah pendekatan dalam pembelajaran Kontrapung yang dilakukan dengan menggunakan lima langkah yang disebut sebagai species. Masing-masing species memiliki aturan-aturan yang harus diikuti untuk membuat melodi kontrapung. Penelitian ini bertujuan untuk menganalisis efektivitas penggunaan species counterpoint pada pembelajaran Kontrapung di Program Studi S-1 Pendidikan Musik, Fakultas Seni Pertunjukan, Institut Seni Indonesia Yogyakarta. Penelitian ini merupakan penelitian deskriptif kualitatif. Data penelitian diperoleh dari observasi, wawancara, dan dokumentasi penelitian. Hasil penelitian ini menunjukkan bahwa penggunaan species counterpointmeningkatkan efektivitas pembelajaran Kontrapung. Berdasarkan hasil observasi dan wawancara diketahui bahwa dengan menggunakan species counterpoint, mahasiswa memiliki dasar pengetahuan konsep Kontrapung yang kuat, sehingga dapat membuat melodi kontrapung dengan baik dan benar. Selain itu, mahasiswa juga dapat mengerjakan pembuatan melodi kontrapung dengan cepat dan tepat.AbstractEffectiveness of Contrapung Learning using Species Counterpoint. Counterpoint learning is carried out using two methods, the strict counterpoint, and the free counterpoint. Counterpoint learning using the strict counterpoint is well known as a species counterpoint. Species counterpoint is an approach in counterpoint learning that is carried out using five steps known as species. Each species has rules that must be followed to create counterpoint melodies. This study aims to analyze the effectiveness of using counterpoint species in counterpoint learning in Program Studi S-1 Pendidikan Musik, Fakultas Seni Pertunjukan, Institut Seni Indonesia Yogyakarta. This is a qualitative descriptive study. The data were gathered from observations, interviews, and research documentation. The results of this study indicate that the use of counterpoint species increases the effectiveness of counterpoint learning. Based on the results of observations and interviews, it is known that by using counterpoint species, students have a strong foundation of knowledge of the counterpoint concept, so that they can make a counterpoint melody properly and correctly. Besides that, students can also work on making counterpoint melodies quickly and precisely.Keywords: Counterpoint; species; strict; melody

Faktor Penunjang Pertunjukan Musik: Input, Proses, dan Output Ovan Bagus Jatmika
Journal of Music Science, Technology, and Industry Vol. 3 No. 1 (2020)
Publisher : Institut Seni Indonesia Denpasar

This research examines the supporting factors in improving the quality of musical performances. The method used is qualitative and the research data are found through library research. The author concludes that a performance is considered to have ideal conditions if it involves three elements that support each other in the process towards the end of the musical execution on the stage, namely input, process, and output. These three elements (input, process, and output) are expected to improve the quality of the performance. The intended form of quality improvement is the formation of two-way communication or dialogue between the player and the audience. The player conveys the musical content of their interpretation of the work being played, while the audience responds to the standard measure of musical, visual and gestural norms that they have / believe in. Keywords: musical stimuli, musical emotions, learning motivation, exercise effectiveness, musical memory.

Musician Problem: Internal and External Aspects Ovan Bagus Jatmika
Journal of Music Science, Technology, and Industry Vol. 3 No. 2 (2020)
Publisher : Institut Seni Indonesia Denpasar

Purpose: This paper explores various problems faced by music players in general and the solutions about the problems. Research methods: These problems are categorized into two, namely internal and external. Internal problems are related to technical and psychological problems, while external problems are related to communication capacity. Results and discussion: Internal problems can be experienced by all music players without considering the kind of their performances (solo or ensemble), external problems specifically only appear in the ensemble. The solution to the technical problems is trying to understand the score from the broadest possible perspective (accommodating at least three things: assumptions about the style of music, the intention of the composer, and the role of the player in interpreting the work) so that the player can construct sound imaginations without being overshadowed by technical constraints. Implication: Psychological problems can be mitigated by many things, but the most recommended method is cognitive behavior therapy, where musicians are taught to always bring positive thoughts in any situations

Lagu Nasional: Sarana Retorika Ideologi Kebangsaan Yulius Rizki Hutagaol; Ziko Rizky Prabowo; Muhammad Rafli Pradanto; Ovan Bagus Jatmika
Journal of Music Science, Technology, and Industry Vol. 4 No. 1 (2021)
Publisher : Institut Seni Indonesia Denpasar

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Purpose: The study aims to discuss the role of the lyric (verbal) and music (non-verbal) aspects in the national anthem as a means of rhetoric for the national ideology (in this case the ideology of the Indonesian nation). Research methods: The method used is qualitative which is more specifically under the umbrella of phenomenological research. Results and discussion: The author chooses the song "Maju Tak Gentar" by C. Simanjuntak. From a semiological point of view, it is known that lyrics are at the first level of significance (denotative) and music is at the second level of significance (connotative). Because the lyrics can be directly identified as the rhetoric of the national ideology, the writer needs to do a further analysis of the music in the national anthem. This can be achieved by linking the characteristics of myth in theory by Roland Barthes to the musical aspects of the song "Maju Tak Gentar". Implication: Music in the national anthem is a form of non-verbal narrative that can be used as a means of rhetoric for national ideology.

Keroncong “In Nine”: Integrasi Sistem Serial pada Sistem Tonal Keroncong Rifal Taufani; Ovan Bagus Jatmika; Kardi Laksono
IDEA: Jurnal Ilmiah Seni Pertunjukan Vol 17, No 1 (2023): Vol 17, No 1 (2023)
Publisher : Institut Seni Indonesia Yogyakarta

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ABSTRAKPenelitian ini bertujuan menerapkan prosedur serial dua belas nada dari Arnold Schonberg pada gaya musik tonal dalam idiom keroncong. Langkah yang dilakukan adalah dengan menciptakan karya komposisi berjudul “In Nine”. Tujuan dari penciptaan karya ini untuk mengetahui apakah kesan keroncong tetap terjaga meskipun melodi disusun dari prosedur dua belas nada dengan tidak menghilangkan tonalitas keroncong itu sendiri. Hasilnya menunjukkan bahwa penerapan prosedur serial dua belas nada bisa dilakukan pada musik keroncong tanpa mengilangkan kesan idiom dasarnya.Kata Kunci: Keroncong; Musik Serial; Atonal; TonalKeroncong “In Nine”: Serial System Integration on the Keroncong Tonal SystemABSTRACTThis study aims to apply Arnold Schonberg's twelve-tone serial procedure to tonal musical styles in keroncong idioms. The step taken is to create a composition entitled “In Nine”. The purpose of creating this work is to find out whether the impression of keroncong is maintained even though the melody is composed of a twelve-tone procedure without eliminating the tonality of the keroncong itself. The results show that the application of the twelve tone serial procedure can be performed on keroncong music without losing the impression of the basic idiom.Keyword: Keroncong; Serial Musik; Atonality; Tonality

Ngĕng: Penerapan Rasio Interval pada Sumber Bunyi Non Pitch Sambung Penumbra; Ovan Bagus Jatmika; Kardi Laksono
IDEA: Jurnal Ilmiah Seni Pertunjukan Vol 17, No 1 (2023): Vol 17, No 1 (2023)
Publisher : Institut Seni Indonesia Yogyakarta

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Penelitian ini bermaksud mengetahui cara pengintegrasian noise dan sound dari objek material non pitch melalui DAW (Digital Audio Workstation). Fokus pembahasannya adalah pada penerapan rasio interval yang nantinya disusun menjadi harmoni menggunakan rasio interval equal temperament untuk mendapatkan ‘nada’ sehingga dapat disusun menjadi karya musik tonal. Tujuan dari penelitian ini adalah untuk mengetahui bagaimanakah kesan nuansa harmoni manakala suara yang dipakai berasal dari sumber bunyi non pitch dan bagaimana relevansi prinsip tonalitas selama pembuatan karya. Untuk mengetahuinya, dilakukan metode wawancara dan analisis karya. Hasilnya menunjukkan bahwa responden mendengar kesan harmoni dalam karya, sedangkan kesan timbre melemah manakala pendengar fokus pada aspek frekuensi fundamental dengan amplitudo yang kuat. Dalam konteks karya ini, tidak semua prinsip tonalitas relevan.Kata Kunci: Layering, Sound design, Noise, Equal temperament, TonalThis research intends to find out how to integrate noise and sound from non-pitch material objects through a DAW (Digital Audio Workstation). The focus of the discussion is on the application of interval ratios which will later be arranged into harmony using equal temperament interval ratios to obtain 'tones' so that they can be composed into tonal pieces of music. The purpose of this study is to find out how the nuances of harmony are felt when the sound used comes from a non-pitch sound source and how relevant the principle of tonality is during the creation of works. To find out, interview methods and work analysis were carried out. The results show that the respondent hears a sense of harmony in the work, while the impression of timbre weakens when the listener focuses on aspects of the fundamental frequency with a strong amplitude. In the context of this work, not all of the tonality principles are relevant.Keywords: Layering, Sound Design, Noise, Equal temperament, Tonal

Coexistence of particularity in the universality of musical sensation Ovan Bagus Jatmika
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol. 19 No. 1 (2024)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v19i1.5980

This research is motivated by the debate about the issue of the universality of music. The question to be answered is, at what level does this aspect of musical universality emerge? This question is asked because, at a material level, it is clear that every piece of music is different and cannot be said to be the same, but at the same time, people tend to be able to enjoy music even if they don’t know the type or language of the music they are listening to, intuitively, unlike verbal language. Efforts to answer these questions bring this research under the qualitative umbrella with a phenomenological approach. In the context of this research, the issue of music is examined through the experience of musical sensations and reviewed using Deleuze’s theory of sensation. Data on musical sensation experiences was collected by conducting semi-structured interviews with five musicians from different genres, namely classical, jazz, pop, experimental and traditional. The research results show that the universality aspect of music is at the level of sensation, not sound material. In this case, sensation is only possible through empirical experience when people intensifically encounter sound material. This also shows that the term musical universality is not merely a metaphorical expression, but rather explains the existence of a coexistence relationship between musical material and sensation. So this finding can contribute to the need for the musician to think about performance strategies if they want to produce a universal sensation experience.

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