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All Journal Melayu Arts and Performance Journal Mamangan Social Science Journal
Simanjuntak, Hendrik L
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Arts Humanities Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Social Sciences

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Instrumental Dominance In Bands: a Study of Player Subjectivity Manalu, Kartini R.M.; Simanjuntak, Hendrik L; Waruwu, Happy Majesty; Sagala, Yeremia Yosephina Van; Siahaan, Thessa Angelica
Jurnal Ilmu Sosial Mamangan Vol 12, No 3 (2025): Jurnal Ilmu Sosial Mamangan Accredited 2 (SK Dirjen Ristek Dikti No. 0173/C3/DT
Publisher : LPPM Universitas PGRI Sumatera Barat

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22202/mamangan.v12i3.9203

Abstract

This research opens up a space for discourse on the existence of various perspectives of musicians and the community regarding the dominance of instruments. They believe that there is one instrument that has a higher 'value' than other instruments. In this case, ‘value’ can be interpreted as dominance, tendency, ‘primacy’, ‘existence’ and ‘position’ within a band or musical ensemble. The urgency of this research is to see to what extent this dominance is interpreted in a musical performance by musicians, the general public, and how this is connected to the concept of 'equality' from an instrumentation perspective. Something that becomes ‘blurry’ when an instrument is debated without a ‘balanced’ indicator or is diminuted from the character of the instrument.
Vocal Technique and Expressive Interpretation in the Performance of “Ganjang Ma Umurmi” by Osen Hutasoit Simanjuntak, Andreas; Simanjuntak, Hendrik L; Waruwu, Happy Majesty
Melayu Arts and Performance Journal Vol 8, No 2 (2025): 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.v8i2.5086

Abstract

This study examines vocal technique and expressive interpretation in the performance of the Batak popular song “Ganjang Ma Umurmi” composed by Osen Hutasoit. While previous studies on vocal performance primarily emphasize technical mastery in classical or choral contexts, limited scholarly attention has been given to the integration of vocal technique and interpretative expression in contemporary Batak popular repertoire. This research aims to analyze how technical elements—posture, diaphragmatic breathing, articulation, intonation, resonance, and dynamics—function not only as mechanical vocal strategies but also as embodied expressive devices that shape musical meaning. Employing a qualitative descriptive approach, data were collected through performance observation, in-depth interviews, score analysis, and documentation of a recital performance at GBI Pelita IV. The data were analyzed using Miles and Huberman’s interactive model, including data reduction, data display, and conclusion drawing. The findings reveal that the effective performance of this song requires a synergistic integration between technical control and emotional interpretation, particularly in handling modulation, sustained high-register passages, and dynamic contrast. Vocal technique operates as an expressive medium that constructs intimacy, sincerity, and emotional resonance within the performance. This study contributes to the discourse on vocal pedagogy and performance studies by highlighting the role of embodied technique in shaping interpretative meaning in regional popular music. The novelty of this research lies in its contextual focus on Batak popular repertoire and its analytical integration of technical and expressive dimensions in performance practice
Technical and Interpretative Aspects of Violin Performance in Chopin’s Nocturne No. 20 in C-Sharp Lase, Jefri Aprillian; Simanjuntak, Hendrik L; Galingging, Kamaluddin
Melayu Arts and Performance Journal Vol 8, No 2 (2025): 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.v8i2.5067

Abstract

This study examines the playing techniques and musical presentation of Nocturne No. 20 in C-Sharp Minor by Frederic Chopin when performed on the violin. Although originally composed for piano, this work has frequently been adapted for violin performance, presenting specific technical and interpretative challenges for performers. The purpose of this research is to analyze the violin playing techniques and expressive elements required to perform the piece effectively. This study employs a qualitative descriptive approach through musical analysis and literature review, supported by observations of the rehearsal and performance process. The analysis focuses on several important techniques applied in the performance, including legato, triplet, and trill techniques, as well as the use of musical dynamics such as piano, mezzo forte, diminuendo, and tempo indications like meno mosso. The findings show that the primary technical challenge in performing this work lies in maintaining smooth legato phrasing while preserving expressive musical interpretation. In addition, the performer must control bow pressure, finger placement, and rhythmic accuracy to achieve the expressive character typical of Chopin’s romantic musical style. The study demonstrates that the integration of technical mastery and musical interpretation plays a crucial role in delivering a convincing violin performance of Nocturne No. 20 in C-Sharp Minor. These findings contribute to the understanding of violin performance practices in adapting Romantic piano repertoire to violin interpretation
Hope and Disappointment By Trisutji Kamal: Analysis Vocal and Piano Music Composition Manalu, Kartini R. M.; Simanjuntak, Hendrik L; Waruwu, Happy Majesty; Simanjuntak, Octavia Indri
Jurnal Mamangan Vol 14, No 2 (2025): Special Issue
Publisher : LPPM Universitas PGRI Sumatera Barat

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22202/mamangan.v14i2.9669

Abstract

Trisutji Kamal is the first Indonesian female composer to work in the field of 'Indonesian classical music', and her works have become part of the repertoire of various musical performances, concerts, and recitals both domestically and internationally. His compositions are manifestations of personal experience, identity, nationalism, love and beauty, developed using various compositional techniques connected to various trajectories of Western music history. In this position, the author sees Trisutji Kamal as having entered a phase of providing novelty in composition, namely by discussing a 'new' compositional form. This 'new' compositional form has directly opened up a space for discussion regarding aesthetics, appropriateness, temporality, and also interpretation. The Cycle: Hope and Disappointment is a different cycle from those of Schubert and Schumann. Trisutji Kamal presents different times within the cycle and various themes, thus creating a distinct continuity. This certainly impacts the performance and the way the text is conveyed to the audience. According to the author, this is one of Trisutji Kamal's compositional strengths that has not been widely discussed in scholarly discussions and previous research. Through a qualitative approach, this research opens up space to see the relationship between Trisutji Kamal's work and Schubert and Schumann and to discuss different things as part of 'newness' in composition.
Co-Authors Galingging, Kamaluddin Kartini Ruth Maduma Manalu Lase, Jefri Aprillian Manalu, Kartini R. M. Sagala, Yeremia Yosephina Van Siahaan, Thessa Angelica simanjuntak, andreas Simanjuntak, Octavia Indri Waruwu, Happy Majesty