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All Journal Grenek: Jurnal Seni Musik Gondang: Jurnal Seni dan Budaya Ganaya: Jurnal Ilmu Sosial dan Humaniora Journal of Education, Humaniora and Social Sciences (JEHSS) Budapest International Research and Critics in Linguistics and Education Journal (Birle Journal) Budapest International Research and Critics Institute-Journal (BIRCI-Journal): Humanities and Social Sciences Britain International for Linguistics, Arts and Education Journal (BIoLAE Journal) Jurnal Pendidikan dan Penciptaan Seni Jurnal Penelitian Musik Jurnal Penelitian Musik
Panji Suroso
Universitas Negeri Medan
Religion Arts Humanities Computer Science & IT Economics, Econometrics & Finance Education Health Professions Languange, Linguistic, Communication & Media Public Health Social Sciences Other

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Model Creation of Musical String Instrument Based on Ethnic Diversity in North Sumatera Suroso, Panji; Hasbulah, Mulkis; Wiastuti, Uyuni; Hirza, Herna; Silionga, Pita HD; Amal, Bakhrul Khair
Budapest International Research and Critics Institute (BIRCI-Journal): Humanities and Social Sciences Vol 1, No 4 (2018): Budapest International Research and Critics Institute December
Publisher : Budapest International Research and Critics University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33258/birci.v1i4.101

Abstract

This research is based on the curiosity about the phenomenon of the diversity of concepts and organizational structures of traditional stringed instruments in North Sumatra to be developed in finding new, more innovative concepts in creating North Sumatra local whisdom-based stringed musical instruments. The results of this study are expected to provide excellent benefits in research and development of science for lecturers, students and the wider community. The method used in this study is a qualitative approach and exploration besides art. The process of finding data and information is carried out thoroughly for overall and complete information about the diversity of traditional stringed musical instruments in North Sumatra. Data collected from two sources, namely primary data and secondary data. Primary data is obtained from the techniques of in-depth interviews (in-depth interviews) and joint observation (participant observation) which aims to explore data focused on focus groups (focus group discussions). The selection of informants is carried out on grouping key informants consisting of makers, users, experts and academics of traditional music. Secondary or primary data then organized for later exploration in creating musical instruments concocted with the diversity of local whisdom in North Sumatra. The results of this study are: Taking into account the various forms of musical instruments and the areas of the tones of each related instrument, then formulated to emit the tone by adopting and exploring existing instruments.
Zikir Bordah and Social Relations in the Labuhan Batu Community Amal, Bakhrul Khair; Suroso, Panji; Ravai, Muhammad; Rambe, Tappil
Budapest International Research and Critics Institute (BIRCI-Journal): Humanities and Social Sciences Vol 3, No 4 (2020): Budapest International Research and Critics Institute November
Publisher : Budapest International Research and Critics University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33258/birci.v3i4.1331

Abstract

This paper aims to collect various types of Bordah recitation that are used in various cultural events in Labuhan Batu during weddings, circumcisions, and gratitude towards God. The meaning is to re-explore the important values of local wisdom in Bordah Zikir that have been lost to answer the challenges of globalization as well as to play an important role in changing social values in Labuhan Batu society. Bordah recitation is an expression of gratitude through beautiful poetry that leads to the divine. This research is very important to explore the values of Bordah's remembrance which have long been forgotten or even lost. This study will greatly support and assist the government's efforts in the mental revolution program which have shown a disorderly direction. The research method that will be used is the socio-anthropological method whose characteristics are "examining informants as research subjects in their daily environment." Researchers and the object under study interact intensely through in-depth observation of the object's life in accordance with the research objectives. This research will be conducted in the Labuhan Batu area which consists of the Malays and Mandailing tribes, North Sumatra.
Bentuk Dan Fungsi Lagu Tawar Sedenge Pada Masyarakat Gayo di Kabupaten Aceh Tengah Muhammad Fiqri Rizqullah; Panji Suroso
Grenek: Jurnal Seni Musik Vol 10, No 1 (2021): Grenek: Jurnal Seni Musik
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/grenek.v10i1.26100

Abstract

Tujuan penelitan ini adalah untuk mengetahui bentuk dan fungsi dari lagu Tawar Sedenge yang ada pada masyarakat Gayo Kabupaten Aceh Tengah. Penelitian ini berdasar kepada landasan teoretis yang menjelaskan tentang konsep eksistensi, dan fungsi musik, yang kemudian dipaparkan, dan dijelaskan secara sistematis untuk memperdalam atau menginterpretasikan data secara spesifik dalam rangka menjawab keseluruhan pertanyaan penelitian. Metode penelitian ini menggunakan metode deskriptif kualitatif yaitu dengan mengumpulkan dan menyusun data lalu dipaparkan dan diinterpretasikan. Hasil penelitian menunjukan bahwa; 1) Bentuk lagu Tawar Sedenge merupakan lagu satu bagian dengan bentuk AB. 2) Lagu Tawar Sedenge sebagai fungsi yang terbagi atas sepuluh fungsi yang dikemukakan oleh Alan P. Merriam diantaranya adalah sebagai ekspresi emosional, kenikmatan estetis, hiburan, komunikasi, representasi simbolis, respon fisik, menguatkan konformitas terhadap norma sosial, validasi terhadap institusi sosial dan ritual keagamaan, kontribusi terhadap kontinyuitas dan stabilitas budaya, dan kontribusi terhadap integrasi masyarakat.
Penerapan Inovasi Model Instrumen Musik Kulcapi Senar 4 pada Kelompok Seniman Tradisional Produktif di Kecamatan Kabanjahe Kabupaten Karo Uyuni Widiastuti; Panji Suroso; Merdy R. S Togatorop; Tri Danu Satria
Grenek: Jurnal Seni Musik Vol 9, No 2 (2020): Grenek: Jurnal Seni Musik
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/grenek.v9i2.20428

Abstract

Studi ini bertujuan menjelaskan proses penerapan produk hasil inovasi kulcapi senar 4, pada kelompok seniman tradisional produktif yang ada di Kecamatan Kabanjahe, Kabupaten Karo. Metode yang digunakan adalah pendekatan kualitatif, mengikuti pendapat Miles dan Huberman (1984) yakni: 1) pengumpulan data yang dilakukan melalui wawancara dan pengamatan; 2) pengamatan intisari dokumen; 3) perekaman dan pencatatan; 4) reduksi data; 5) memilih hal-hal yang pokok untuk dapat direduksi; 6) memfokuskan hal-hal yang penting dan membuang yang tidak perlu; dan 7) menyajikan data secara lengkap dilakukan dengan mendeskripsikan data dalam bentuk teks yang bersifat naratif dan bagan. Penarikan kesimpulan dan verifikasi dilakukan pada bagian konklusi. Dalam studi ini dideskripsikan kulcapi 4 senar menjadi solusi alternatif yang memungkinkan para seniman untuk mengeksplorasi nada-nada dengan jangkauan yang lebih luas. Hasil studi menunjukkan bahwa inovasi model instrumen musik kulcapi senar 4 merupakan pengembangan konsep organologi dari senar 2 menjadi senar 4 dengan alasan untuk dapat mengeksplorasi dan menjangkau nada-nada secara lebih luas. Penerapan inovasi model instrumen kulcapi senar 4 pada kelompok seniman produktif di Kecamatan Kabanjahe Kabupaten Karo bertujuan membentuk kemampuan seniman produktif dalam menciptakan inovasi atau memproduksi instrumen kulcapi senar 4, yang dampaknya dapat meningkatkan perekonomian seniman. Serta untuk menciptakan atau mengembangkan ide dan konsep baru dalam menyajikan pertunjukan musik ansambel gendang kulcapi Karo.
PENGEMASAN BAHAN AJAR KOMPUTER MUSIK DASAR BERBASIS E-LEARNING DI PRODI PENDIDIKAN MUSIK UNIVERSITAS NEGERI MEDAN Tri Danu Satria; Panji Suroso; Adina Sastra Sembiring
Grenek: Jurnal Seni Musik Vol 9, No 1 (2020): Grenek: Jurnal Seni Musik
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/grenek.v9i1.18013

Abstract

Penelitian ini membahas tentang media bahan ajar Komputer Musik Dasar yang dikemas dalam bentuk e-learning. Penelitian ini bertujuan untuk mengetahui cara pengemasan penggunaan software Sibelius 7 yang dikemas ke dalam bentuk e-learning dan mendeskripsikan langkah-langkah pengunggahan (upload) bahan ajar yang dikemas kedalam bentuk file multimedia menjadi sistem pembelajar berbasis web (internet). Teori yang digunakan dalam penelitian ini adalah teori tentang pengemasan, bahan ajar, e-learning, komputer musik, dan software notater sibelius 7. Metode penelitian ini menggunakan metode penelitian kualitatif yang menjelaskan dan mendeskripsikan teori kedalam bentuk kata-kata. Instrumen yang digunakan dalam penelitian ini adalah berupa angket Uji Ahli Materi dan angket Uji Ahli Media, angket ini terdiri dari aspek penilaian yaitu berdasarkan standar kompetensi. Tahap pengemasan dalam pembuatan bahan ajar komputer musik dasar dimulai dengan tahap Perencanaan, Pelaksanaan, dan Evaluasi. Langkah-langkah pengunggahan bahan ajar e-learning dengan menggunakan aplikasi Google Drive dan aplikasi Bitly. Pemilihan bahan ajar secara online atau e-learning dilatar belakangi kemudahan, efisiensi, efektivitas dan keawetan materi sehingga bisa diakses dimana saja dan kapan saja. Penelitian ini menghasilkan suatu produk bahan ajar berupa e-learning berformat slide, Portable Document Format (PDF), dan Vidio yang dapat dijadikan media pembelajaran. Penelitian ini juga menghasilkan bahan ajar online yang dapat diakses dan diunduh melalui link bit.ly/komputermusikdasar.
The Technique of Bebano Drums on Accompanying Jogi Dance in Wansendari Art Studio Batam City Rhema Faith; Panji Suroso
Grenek: Jurnal Seni Musik Vol 10, No 2 (2021): Grenek: Jurnal Seni Musik
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/grenek.v10i2.27615

Abstract

The purpose of this study is: To find out how the technique of playing Gendang Bebano in accompanying the jogi dance in the wansendari art studio. The approach and type of research used by the researcher is descriptive qualitative. This research was conducted at the Wansendari Art Studio, Batam City, so the population of this study were all members of the Wansendari Art Studio. While the samples of this study were members of the studio musicians, the head of the studio, the instructor of the studio as well as the head of culture in the city of Batam. The writing uses data collection techniques in the form of: observation to produce valid data regarding the technique of playing the Gendang Bebano in accompanying the jogi dance. Interview to get the results of research on the technique of playing Gendang Bebano in accompanying the jogi dance. Documentation for additional data in the form of photos, recordings and videos. The results of this study prove that the technique of playing the Gendang Bebano in the form of the body position of the drummers is sitting cross-legged and the drums are above the players' feet The Bebano of the drum is held by both players' hands and produces the sound of tak, pung, plang, tung. On the sound without using the index finger, middle finger, third finger, and little fingers, they are hit on the edge of the drum skin. The sound of pung uses the index finger, middle finger, third finger, and little finger but is hit in the middle area of the drum with the fingers in a straight position with the palm of the hand attached to the edge of the drum. In the plaang sound, the middle finger, third finger, and little finger are beaten on the edge of the drum but the palms are attached to the circumference of the drum. For the tung sound, use 4 straight fingers and hit in the middle of the drum.
Bordah Traditional Music as A Local Wisdom On Malay Society Wedding Ceremony Coastal North Labuhanbatu Regency Lailatul Hasanah; Panji Suroso; Esra Siburian
Grenek: Jurnal Seni Musik Vol 9, No 1 (2020): Grenek: Jurnal Seni Musik
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/grenek.v9i1.17187

Abstract

This  study  aims  to  determine  the  existence,  functions  and  values  of  local  wisdom  of traditional music at the wedding ceremony bordah coastal communities wither North Labuhan Batu Regency. The theory used is the theory that relate to research topics such as the theory of existence, the theory of functions, traditional music theory, the theory of the wedding ceremony and the theory of values Local Wisdom. This study uses qualitative descriptive method where the data is examined through the collection of data in the form of photographs and videos, scientific papers, as well as the expert opinion in the material based on the research topic. The results showed that the presence of traditional music bordah is a traditional art in the form of poetry, music, dance and customs, the wedding ceremony. Bordah displayed on Regent Cup Festival activities, Hagaf, Thanksgiving child's birth and circumcision ceremony. Bordah functions of traditional music as entertainment, as Iringin, means of communication, expression of gratitude, the continuity of culture and a means of self-expression.  Local  wisdom  values  bordah  traditional  music  at  the  wedding  ceremony coastal communities wither North Labuhan Batu district: religious values, the value of art, solidarity, tolerance, the value of harmony and peace, the value of modesty, the economic value and the value of education. Keywords : Existence, Function Music, Local Wisdom, Bordah.
Work in Progress on the Creation of the Three-Stringed Kulcapi Panji Suroso; Uyuni Widiastuti; Rahmat Riswan Aidil Syahputra Siregar; Adina S Sembiring; Obed Sembiring; Ewin Johan Sembiring
Britain International of Linguistics Arts and Education (BIoLAE) Journal Vol 1 No 2 (2019): Britain International of Linguistics, Arts and Education - November
Publisher : Britain International for Academic Research (BIAR) Publisher

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33258/biolae.v1i2.93

Abstract

This research tittle ‘work in progress on the creation of the three-stringed kulcapi’ wanted to examine how the work process of the creation of the kulcapi music instrument and can be explained descriptively. The kulcapi musical instrument which is considered to still have limitations in terms of producing its notes, and only having 2 strings, seems to be the cause of the less than optimal function in exploring the notes. In addition, the form of the kulcapi instrument is seen to be still very plain and very simple, this is felt to be one of the issues that must be overcome to be able to explore the kulcapi musical instrument to be more functional, both in producing tones and adding aesthetic value to the form of the kulcapi music instrument. In this research, a qualitative descriptive method is used. The process of tracing data and information is done diachronically to find out in full and complete about the kulcapi music instrument. The data collected comes from two sources, they are primary and secondary data. Primary data obtained through in-depth interviews and participant observation that aims to collect data followed by focus group discussions. This research produces findings including: a) The creation of three-stringed kulcapi instruments has a wider range of tone areas. b) can be functioned more flexible and can be explored in playing pentatonic and diatonic tones. c) The shape has the characteristic of the Karo people with the presence of ethnic Karo ornaments on the kulcapi’s body.
The Repertoire of Traditional Malay Ensemble as a Source of Violin Practice Learning Material Panji Suroso; Danny Ivanno Ritonga; Wiflihani Wiflihani; Mukhlis Mukhlis; Tri Danu Satria
Budapest International Research and Critics in Linguistics and Education (BirLE) Journal Vol 3, No 4 (2020): Budapest International Research and Critics in Linguistics and Education, Novemb
Publisher : BIRCU

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33258/birle.v3i4.1334

Abstract

This study aims to examine in depth how the process of applying the Malay traditional music ensemble reportoar as a teaching material in practical learning to play violin instruments in unimed music education study programs in the odd semester 2020-2021.Based on the monitoring carried out by the lecturer team in the learning process to play the violin that has occurred so far, the practice of playing the violin is still being carried out with teaching material playing western classical music and playing popular music styles. This study was conducted using a qualitative approach, namely following the opinions of Miles and Huberman (1984), namely (1) data collection, which was carried out through interviews, document digest observation, recording and recording; (2) data reduction, which is done by summarizing, selecting the main things, focusing on the important things, looking for themes and patterns and removing unnecessary ones; (3) data display (data presentation), which is done by showing the data and presenting it in the form of narrative text and charts; (4) conclusion drawing / verification which is carried out by drawing conclusions and verifying the research findings. In this study, the findings suggest that: 1) The learning process carried out in learning the violin in this study is to apply the tiered learning method, starting from the preparatory level learning, basic learning, middle level learning, and advanced learning. 2). The introduction of the main principle in recognizing cengkok and grenek in violin playing is in the form of the jump tone technique. For example, a violin melody can be played 7 notes or 8 notes in one beat, but the melody interval steps vary between second, terts, quart, quint and so on. However, in a grenek melody, the intervals played are only in the form of a second up or a second down.
Performance Model of Kulcapi (Karo Musical Instrument) as a Teaching Material in Guitar Learning Panji Suroso; Adina Sastra Sembiring; Uyuni Widiastuti; Muklis Hasbulah; Bakhrul Khair Amal
Budapest International Research and Critics Institute (BIRCI-Journal): Humanities and Social Sciences Vol 1, No 4 (2018): Budapest International Research and Critics Institute December
Publisher : Budapest International Research and Critics University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33258/birci.v1i4.102

Abstract

This study examines performance model of Kulcapi Karo as a teaching material in guitar learning classes at Music Art Study Program in Unimed. To obtain maximum learning outcomes in the learning process, creative strategies and methods are created in utilizing local music culture as a capital in improving music playing skills. Efforts are made in various ways to maximize learning by reviewing and analyzing matters related to the learning process such as; analyze learning objectives, teaching material, strategies or learning methods, including local cultural material as a learning resource that can be adapted to the development and needs of the community in the world of education that continues to grow. Based on this, it is very important if Kulcapi's musical instrument culture as local culture can be packaged and used as teaching material in learning guitar music instruments. This is intended to further enrich students' understanding of theoretical concepts and the practice of playing stringed musical instruments is not only limited to popular knowledge, but also on things that are more specifically including traditional ones. With the effort to study and understand the Kulcapi instrument as teaching material, students must absolutely understand the organology structure and the technique of playing Kulcapi to be able to be developed to the level of being able to play better musical instruments. The technique of playing Kulcapi instrument as a capital in developing students' abilities in guitar courses seems to be more able to improve the achievement of better quality learning outcomes
Co-Authors Adina S Sembiring Agung Suharyanto Amir Razak Arwansyah, OK Dedy Bakhrul Khair Amal Bakhrul Khair Amal, Bakhrul Khair Bangun, Daniel P Danny Ivanno Ritonga Esra Siburian Ewin Johan Sembiring Faith, Rhema Hartika Situmorang, Syaraya Hasanah, Lailatul Hasbulah, Mulkis Hasbullah, Mukhlis HERNA HIRZA Inggit Prastiawan Kumalo Tarigan Lailatul Hasanah Mahda Reni Lubis Matondang, Dian Libriani Merdy R. S Togatorop Muhammad Fiqri Rizqullah Mukhlis Muklis Hasbulah Muklis Muklis Obed Sembiring Octaviana Br. Tobing Pulumun Peterus Ginting Rahmat Riswan Aidil Syahputra Siregar Ravai, Muhammad Rhema Faith Rizqullah, Muhammad Fiqri Robby Hidajat Ruth Hertami Dyah Nugrahaningsih Sebayang, Vanesia Amelia Sembiring, Adina Sastra Siburian, Esra Sigalingging, Helsiana Silionga, Pita HD Sitti Rahmah Situmorang, Syaraya Hartika Tappil Rambe Togatorop, Merdy R. S Uyuni Widiastuti Uyuni Widiastuti Wahyu Tri Atmojo Wiastuti, Uyuni Wiflihani Wiflihani