Garuda - Garba Rujukan Digital

Kajian Kepesindenan Sunda: Analisis Laras dan Surupan dalam Lagu “Tablo Kasmaran” Karya Eutik Muchtar Marsel Ridky Maulana; Rifani Syahru Romadlana
Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik Vol. 7 No. 1 (2025)
Publisher : Program Studi Pendidikan Musik FBS UNP

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/musikolastika.v7i1.198

Purpose: The song “Tablo Kasmaran” is a musical repertoire in the form of sekar-gending that is often presented in Kliningan and Wayang Golek performances. The song “Tablo Kasmaran” was created by an artist named Eutik Muchtar, especially in the kepesindenan genre this song has a high musical difficulty. The purpose of writing this article is to reveal the song “Tablo Kasmaran” which has an extraordinary musical form, where the use of multi-laras and complex surupan varieties and has a deep poetic meaning. Methods: The method used is content analysis by analyzing documents from several video and audio recordings. Results and Discussion: Based on this method, it was found that the song “Tablo Kasmaran” uses multi-laras based on three laras namely “Salendro”, “Degung” and “Madenda” and the Surupan of this song counts four namely, Salendro 1 = Tugu, Madenda 4 = Tugu, Madenda 4 = Panelu, and Degung 2 = Tugu. Conclusion: From the results of the study conducted, the song “Tablo Kasmaran” in its presentation is a combination of musical and vocal aspects as well as a combination of multi-laras and surupan variety. The song “Tablo Kasmaran” has a tight complexity structure and when impregnated the melodies of this song are very beautiful, besides having beauty in terms of lyrics, this song has a deep meaning of rumpaka (poetry).

The Culture and Traditions of Karo Society as Part of Indonesian Cultural Heritage Piter Sembiring; Marsel Ridky Maulana
Jurnal Kajian Sosial dan Budaya: Tebar Science Vol 10 No 1 (2026): TEBAR SCIENCE: JURNAL KAJIAN SOSIAL DAN BUDAYA
Publisher : Rayhan Intermedia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36653/jksb.v10i1.232

This study examines the customs and traditions of Karo society as an integral part of Indonesian cultural heritage by positioning them as an interconnected cultural system. Using a literature-based research approach, this study reviews scholarly works addressing kinship systems, customary rituals, cultural expressions, traditional arts, and ethnoculinary practices within Karo society. Data were analyzed through critical reading and conceptual synthesis to identify key thematic patterns. The findings indicate that Karo customs function not as isolated practices but as a cohesive social system in which kinship, life-cycle rituals, artistic expressions, and traditional cuisine collectively shape social order and cultural identity. Moreover, Karo traditions demonstrate adaptability to social change while maintaining core customary values. This study highlights the importance of situating Karo customs within the broader context of Indonesian culture, emphasizing their role in the dynamic landscape of the Indonesian archipelago’s cultural diversity

Traditional values and Tetekon: Creativity and innovation in Padalangan of Sundanese Wayang Golek Purwa Marsel Ridky Maulana; Piter Sembiring
Jurnal Kajian Sosial dan Budaya: Tebar Science Vol 10 No 1 (2026): TEBAR SCIENCE: JURNAL KAJIAN SOSIAL DAN BUDAYA
Publisher : Rayhan Intermedia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36653/jksb.v10i1.234

Wayang golek purwa is one of the traditional art performances of the Sundanese community that has a standardized structure and tetekon in its performance. However, along with the times that affect the way of thinking of the performers of wayang golek purwa art, there are changes in function and structure that affect the tetekon of the previous wayang golek purwa performance. The purpose of this study is to examine the changes in the value of tetekon in the art of wayang golek purwa related to the development of creativity and innovation from the young generation of puppeteers. This research uses descriptive qualitative method through observation, audio-visual analysis of wayang golek performances, and literature study on Wayang Golek Purwa puppetry. Based on these methods, it was found that there is a paradoxical phenomenon in Wayang Golek art: on the one hand, creativity plays an important role in maintaining the existence of Wayang Golek art, but on the other hand, it is often considered to violate tetekon or traditional rules. Tetekon needs to be interpreted not only as a standard rule, but as a principle that can provide space for creativity and innovation to maintain the relevance of Wayang Golek art.

Addressing Temporal Instability in Drum Learning through Deliberate Practice: An Educational Intervention Study Piter Sembiring; Marsel Ridky Maulana
OSTINATO: Journal of Music Study and Research Vol. 2 No. 1 (2026): June 2026
Publisher : Pendidikan Seni Musik, Fakultas Pendidikan Seni dan Desain, Universitas Pendidikan Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar

This study investigates the development of rhythmic control in drum learning through deliberate practice. The study addresses temporal instability, a common problem in early drum performance characterized by rushing, dragging, and inconsistent timing during repetitive execution. A qualitative educational intervention design was employed involving 15 students aged 9–12 years in a private drum learning setting. Data were collected through observations, performance recordings, and interviews across four instructional cycles. The findings indicate that rhythmic control develops through structured and error-focused practice rather than repetition alone. Tempo reduction, pattern segmentation, and immediate feedback enabled students to identify timing errors, improve temporal stability, and maintain synchronization with the metronome. Across the intervention, students demonstrated greater self-correction, improved timing awareness, and more consistent rhythmic performance. The findings suggest that rhythmic control involves not only tempo accuracy but also temporal self-regulation and integrated musical understanding. This study contributes to music education by proposing a developmental framework for rhythmic control in drum learning. The findings may serve as a pedagogical reference for drum educators in designing systematic instructional strategies to support rhythmic development and self-regulated learning

Band Milestones as Strategy for Mapping Students’ Musical Progress in GJKI Bandung Raya Piter Sembiring; Clarisa Jesika Korina Tiurmauli Hutapea; Marsel Ridky Maulana; Lee Ji Heon
Virtuoso: Jurnal Pengkajian dan Penciptaan Musik Vol. 8 No. 2 (2025)
Publisher : Universitas Negeri Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26740/vt.v8n2.p137-153

This study examines students’ musical development in a church-based band learning environment using a milestone framework to map technical, musical, and collaborative progress. Ten students from GJKI Bandung Raya participated in rehearsals involving instrument-specific training, group coaching, and arrangement work. Data were collected through observation, interviews, and documentation, then analysed using thematic procedures and Miles and Huberman’s analytic stages. Findings indicate that students demonstrated measurable growth in tempo stability, harmonic understanding, dynamic control, cue responsiveness, and role clarity. Collaborative progress was also evident, particularly in rhythmic coordination, structural navigation, and real-time problem solving during rehearsals. Challenges such as mid-song tempo instability, dynamic imbalance, and vocal inaccuracy required adaptive instructional adjustments that supported sustained improvement. The milestone approach proved effective for identifying learning indicators in community-based band settings. The study contributes practical and theoretical insights and suggests future development of structured milestone-based band curricula.

Rebaban Performance in The Song “Gorompol” at Kliningan Sunda Soni Tresnadi; Marsel Ridky Maulana; Lili Suparli; Endah Irawan
Virtuoso: Jurnal Pengkajian dan Penciptaan Musik Vol. 8 No. 2 (2025)
Publisher : Universitas Negeri Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26740/vt.v8n2.p167-183

The study discusses the use of rebaban in “Gorompol” sekar-gending in Sundanese Kliningan performances. The study focuses on the role of the Sundanese rebab instrument in accompanying and enriching the musical composition, as well as how the rebaban playing pattern shapes the ornamentation in the “Gorompol” sekar-gending. The research method used is content analysis with data collection techniques through observation, interviews with art practitioners, and analysis of performance recordings. The results show that the Sundanese rebab plays a central role in the “Gorompol” sekar-gending, providing expressive nuances through accompanying melodies (pamurba lagu) and dynamic interactions with gamelan instruments. The Sundanese rebab playing technique in the “Gorompol” sekar-gending emphasizes embellishments (reureueus) and ornamentation variations that harmonize with the vocals and rhythm of the Sundanese gamelan. The skill of Sundanese rebab players in interpreting dynamics and ornamentation is an important factor in presenting the distinctive atmosphere of Sundanese Kliningan performances. Thus, this study deepens the understanding of the role of the Sundanese rebab in the “Gorompol” sekar-gending, and can also be a reference for the development of Sundanese rebab instrument learning methods and the preservation of Sundanese gamelan aesthetics in the context of Sundanese traditional music performances.

Content Analysis as a Foundational Methodology in Music Research Marsel Ridky Maulana; Regina Darmawanti; Raffa Arya Saputra
OSTINATO: Journal of Music Study and Research Vol. 1 No. 2 (2025): December 2025
Publisher : Pendidikan Seni Musik, Fakultas Pendidikan Seni dan Desain, Universitas Pendidikan Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar

This study aims to examine a methodological framework based on content analysis for music research. Although content analysis has been widely applied across various scientific disciplines, its implementation within music studies remains sporadic, unsystematic, and lacks an operational framework that can be widely adopted. Accordingly, this research formulates a central inquiry: can content analysis be positioned as a foundational methodology in music research, and how can its methodological structure be scientifically constructed? The research employs a conceptual–qualitative approach using theoretical analysis and literature synthesis, drawing primarily on Krippendorff’s theoretical formulations on content analysis and Scopus-indexed empirical publications that apply this method within music-related contexts. The analytical processes were conducted through unitizing, sampling, coding, inferencing, and validation procedures, which were subsequently mapped onto music research settings. The findings indicate that content analysis possesses both epistemological flexibility and procedural structure, enabling its applicability in musicology, ethnomusicology, music education, music psychology, performance studies, as well as broader domains including the humanities and technology-based research. The novelty of this study lies in the formulation of a comprehensive methodological model that positions music as a representation of meaning rather than merely an acoustic phenomenon. In conclusion, content analysis warrants consideration as a primary methodological approach in music research, as it effectively bridges interpretive frameworks and data-driven approaches. Future research recommendations include the empirical testing of the proposed model across diverse genres and research contexts, as well as the exploration of its integration with computational methods such as AI based approaches and Music Information Retrieval.

Traditional Values and Tetekon: Creativity and Innovation in Padalangan of Sundanese Wayang Golek Purwa Marsel Ridky Maulana
Dance and Theatre Review Vol 8, No 2: November 2025
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/dtr.v8i2.16738

Wayang golek purwa is one of the traditional art performances of the Sundanese community that has a standardized structure and tetekon in its performance. However, along with the times that affect the way of thinking of the performers of wayang golek purwa art, there are changes in function and structure that affect the tetekon of the previous wayang golek purwa performance. The purpose of this study is to examine the changes in the value of tetekon in the art of wayang golek purwa related to the development of creativity and innovation from the young generation of puppeteers. This research uses descriptive qualitative method through observation, audio-visual analysis of wayang golek performances, and literature study on wayang golek purwa puppetry. Based on these methods, it was found that there is a paradoxical phenomenon in wayang golek art: on the one hand, creativity plays an important role in maintaining the existence of wayang golek art, but on the other hand, it is often considered to violate tetekon or traditional rules. Tetekon needs to be interpreted not only as a standard rule, but as a principle that can provide space for creativity and innovation to maintain the relevance of wayang golek art.

“Ngeroncongi Sunda”: Sundanese Vocal Ornamentation and Hybrid Aesthetics in Indonesian Keroncong Ekstra Uus Karwati; Febbry Cipta; Diah Latifah; Marsel Ridky Maulana
Harmonia: Journal of Arts Research and Education Vol. 26 No. 1 (2026): June 2026
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v26i1.37548

Keroncong music represents one of Indonesia’s most valuable artistic heritages, embodying the nation’s history, culture, and musical identity. Meanwhile, kawih, a traditional Sundanese vocal genre, features distinctive vocal ornaments derived from kepesindenan and Tembang Sunda Cianjuran, including an aesthetic element known as dongkari. This study aims to integrate Sundanese vocal ornamentation with keroncong vocal style to create a new form of musical expression that remains rooted in tradition. This study employed a descriptive qualitative approach, encompassing stages of song and vocal ornament transcription, classification of ornament types and techniques, and performative analysis of kawih songs performed in the keroncong ekstra rhythm. The findings reveal that the vocal techniques of kawih and keroncong ekstra share similarities in breath control and dynamics, yet differ in vocal timbre, with resonance centered and supported by head and nasal resonance. Diction and articulation adhere to the Sundanese dialect, while expression aligns with lyrical meaning and melodic texture. The identified ornaments include reureueus, riak, beulit, kait, jekluk, dorong, leot, gibeg, buntut and golosor, all performed improvisationally. Overall, the integration of Sundanese vocal ornamentation within keroncong ekstra enriches the aesthetic color and opens possibilities for the development of hybrid art that represents a dialog between tradition and innovation. It is recommended that future research focus on strengthening vocal scholarship to advance technique, aesthetics, and musical expression, thereby enhancing global competitiveness.

Title

Found 9 Documents
Search

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Title Search

Found 9 Documents Search

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Title

Found 9 Documents
Search