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Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni
Published by Institut Seni Indonesia Padang Panjang
ISSN : 14121662     EISSN : 25802208     DOI : http://dx.doi.org/10.26887/ekspresi
Core Subject : Humanities, Art,
Arts Humanities
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni welcomes full research articles in the area of Visual Art and Performing Art. Scope areas are: related to Art and Culture, Creative Process and conceptual research in visual art and Performing Art.
Arjuna Subject : Seni dan Humaniora - Seni Visual dan Seni Pertunjukan
Articles 297 Documents
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MUSICAL ANALYSIS OF THE "SMOKE EFFECT": SIALANG RAYO RITUALS AND FOREST FIRES AS A SOURCE OF MUSICAL CREATION Indra Gunawan; Muhammad Taufik Hidayat
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 24, No 2 (2022): Edisi Juli- Desember 2022
Publisher : LPPMPP Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/ekspresi.v24i2.1998

Abstract

In Indonesian society, especially western Indonesia. The tradition that was created was not to interpret something imaginary such as art or other social activities but community actions in developing business in the field of plantations. One of the consequences of this forest fire is the loss of a community ritual tradition in taking honey bee debt. This tradition is known as the Sialang Rayo ritual. Sialang Rayo Ritual is now rarely found in the life of the people of Bungo regency. The results of the composer's research then developed into a musical composition entitled "Smoke Effect." Music composition III part is a reflection and imagination of the artist who is concerned with seeing the loss of one of the characters of the surrounding community life. In this article, the author analyzes how the artist processes the musicological elements of the Sialang Rayo ritual into an experimental musical composition. The use of Western musical techniques became the basis for the processing and development of this musical composition.Keywords: ritual Sialang Rayo; Smoke Effect; analysis musicABSTRAKKebakaran hutan saat ini menjadi semacam sebuah tradisi pada masyarakat indonesia, khusus indonesia bagian barat. Tradisi yang diciptakan bukan untuk mengiterpretasikan sesuatu imajinasi seperti hal nya kesenian maupun kegiatan sosial lainnya melainkan tindakan masyarakat dalam mengembangkan usaha dibidang perkebunan. Salah satu akibat dari kebakaran hutan ini yaitu hilangnya suatu tradisi ritual masyarakat dalam mengabil madu lebah hutang. Tradisi ini dikenal dengan nama ritual Sialang Rayo. Ritual Sialang Rayo kini sangat jarang di temukan pada kehidupan masyarakat daerah kabupaten Bungo. Dari hasil penelitian yang dilakukan oleh Indra Gunawan (pengkarya), kemudian dikembangkan kedalam komposisi musik 3 bagian yang berjudul “Smoke Effect”. Karya ini merupakan refleksi dan imajinasi pengkarya yang prihatin melihat hilangnya sebuah salah satu karakter kehidupan masyarakat disekitarnya. Pada artikel ini penulis menganalisis bagaimana pengkarya mengolah unsur-unsur musikologi dari ritual Sialang Rayo kedalam sebuah komposisi musik eksperimental. Penggunaan teknik musik musik barat menjadi dasar pengolahan dan pengembangan pada komposisi musik ini.Kata kunci: Ritual Sialang Rayo; Smoke Effect; Analisis Musik
RONDO'S MUSIC SECTIONAL FORM AND STRUCTURE "ALLA TURCA" BY WA. MOZART Ance Juliet Panggabean; Robby Ferdian
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 25, No 1 (2023): Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPM Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/ekspresi.v25i1.3118

Abstract

 Abstract The Form and Sectional Structure of “Alla Turca” Rondo Music by WA. Mozart. The basic method that will be applied in this research is a qualitative descriptive method. In addition, the approach method used was the library method so that it was found and produced the Sectional Forms and Structures of WA's Rondo "Alla Turca" Music. Mozart. famous for its characteristic piano music, its musical form has a distinctive classical Rondo structure pattern, A B C B A B' and Coda. In addition to the typical 'brilliant' Rondo Form structure in Baroque terms, the use of chord levels (harmony progression) and rhythmic playing makes Rondo's music more lively, fast, and joyful. The sectional structure in Rondo Alla Turca Music by W. A. Mozart, the basis of the scale is diatonic-tonality, the basis of harmony is tri- voice major and minor, the rhythmic basis is duple and triple and symmetrical patterns, while the cadence (V-I or I-V-I), (V- VII7), (IV-I), (V-VI), (IV6-V-II). Form and sectional structure of Alla Turca rondo music. needs to be analyzed to describe music through forms, melodic sequences, tones, rhythms and harmonies that form a unified composition. This is done because music analysis is an important part of music theory, directed towards an approach towards musical understanding to be able to lead to understanding. In the listening process, the ability to follow a melodic groove in a musical pattern in a musical composition becomes a very important fundamental thing. In order to gain an understanding and understanding of the form and sectional structure of Alla Turca's rondo music, one must start from musical grammar, compositional techniques, form, structure, harmony, musical style.Keywords: Form; Sectional Structure; Music; RondoBENTUK DAN STRUKTUR SEKSIONAL MUSIK RONDO" ALLA TURCA" KARYA W.A MOZARTAbstrakBentuk dan Struktur Seksional Musik Rondo “Alla Turca” Karya WA. Mozart. Teknik analisis data adalah deskriptif kualitatif yang merupakan metode penelitian yang menganalisis tentang persepsi untuk mendapatkan informasi lengkap tentang bentuk dan struktur seksional musik rondo “Alla Turca” karya WA. Mozart. Terkenal dengan ciri khas musik piano, bentuk musikalnya memiliki pola struktur Rondo Klasik yang khas, A B C B A B’ dan Coda. Selain pola struktur Rondo Form yang khas ‘brilliant’ dalam istilah Barok, penggunaan tingkat akor (progressi harmoni) dan permainan ritme menjadikan musik Rondo ini lebih lincah, cepat, gembira. Struktur seksional dalam musik Rondo Alla Turca Karya W. A. Mozart, dasar tangga nada adalah tonalitas-diatonis, dasar harmoni tri suara mayor dan minor, dasar ritmis adalah duple dan triple serta pola-pola simetris, sedangakn kadens (V-I atau I-V-I), (V-VII7), (IV-I), (V-VI), (IV6-V-II). Bentuk dan struktur seksional musik rondo Alla Turca karya WA. Mozart penting dilakukan analisis untuk menguraikan musik melalui bentuk, rangkaian melodi, jalinan nada, ritme dan harmoni yang menjadi kesatuan komposisi. Hal ini dilakukan karena analisis musik adalah ilmu yang mempelajari hubungan antar elemen musik yang memperhatikan unsur musik yaitu, melodi, ritme dan harmoni secara detail yang menyusun karya tersebut.Untuk memperoleh pengertian dan pemahaman tentang bentuk dan struktur seksional musik rondo Alla Turca harus bertitik tolak dari gramatika musik, teknik komposisi, bentuk, struktur, harmoni, gaya musik.Kata Kunci:  Bentuk; Struktur seksional; Musik; Rondo 
DISFUNGSI KESENIAN GAMAD DAN BALANSE MADAM DI SUMATERA BARAT Febri Yulika; Susi Fitria Dewi; Jelly Jelly; Yetty Oktayanty
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 23, No 2 (2021): Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPMPP Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/ekspresi.v23i2.3667

Abstract

Gamad music and Balanse Madam dance are no longer popular among the people of West Sumatra. This art was created by an art movement from Nias who lived in the city of Padang in the early 18th century. Balanse Madam art was popular in the 1960s to 1980s. The specialty of this art is that it adopted the music and dance of the Portuguese who loved to party when they traded spices on the West Sumatra coast in the 18th century. The Balanse madam dance was later imitated by Nias workers who later adapted it to the values of the people of West Sumatra. The music that accompanies the Balanse Madam dance is Gamad music (Inter-Regional Music Association) combining various musical instruments of various ethnicities living in the city of Padang such as Minangkabau, Medan and Malay regional music. However, this art, both Gamad music and Balanse Madam dance, are no longer alive in society. Various factors, both internal and external, have caused this art to be rarely performed. As for this article, it will be analyzed using the concept of dysfunction. As for this article, it will be analyzed using the concept of dysfunction.  AbstrakMusik Gamad dan Tari Balanse Madam sudah tidak populer lagi di kalangan masyarakat Sumatera Barat. Kesenian ini diciptakan oleh sebuah gerakan seni dari Nias yang bermukim di kota Padang pada awal abad ke-18. Seni Balanse Madam populer pada tahun 1960 hingga 1980-an. Keistimewaan kesenian ini adalah mengadopsi musik dan tarian bangsa Portugis yang gemar berpesta saat berdagang rempah-rempah di pesisir Sumatera Barat pada abad ke-18. Tari Balanse Madam ini kemudian ditiru oleh para pekerja Nias yang kemudian disesuaikan dengan nilai-nilai masyarakat Sumatera Barat. Musik yang mengiringi tari Balanse Madam adalah musik Gamad yang memadukan berbagai alat musik dari berbagai etnis yang tinggal di kota Padang seperti musik daerah Minangkabau, Medan dan melayu. Namun kesenian ini, baik musik Gamad maupun tari Balanse Madam, sudah tidak hidup lagi di masyarakat. Berbagai faktor baik internal maupun eksternal menyebabkan kesenian ini jarang dipentaskan. Adapun artikel ini dianalisis dengan menggunakan konsep disfungsi.  
THE MUSICAL CONCEPT OF OGUANG JANA IN PARAMBAHAN VILLAGE Indra Ariffin
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 25, No 1 (2023): Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPM Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/ekspresi.v25i1.2173

Abstract

Oguang jana is a type of bronze musical ensemble found in Nagari Parambahan, Lima Kaum sub-district, Tanah Datar district. This art is played by four players, each player holding a canang musical instrument (a type of gong family one level larger than the talempong). This art is commonly carried out in various traditional events and other community entertainment. This study intends to examine the musical concepts that exist in the art of oguang. In addition, studies outside of music texts will also be put forward by the author as an effort to get to know this art beyond the resulting musical texts. Research on this object is also based on the urgency of this art. Where this art no longer has a successor and is very rarely presented in various art stages. Therefore, this research is very important for the author. This research uses qualitative methods to describe things related to the text and context of this art.
REPRESENTATION OF THE LIFE OF PATRIARCHY IN THE FILM YUNI (CRITICAL DISCOURSE ANALYSIS) Adinda Maharani
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 25, No 1 (2023): Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPM Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/ekspresi.v25i1.2622

Abstract

The patriarchal culture is very closely related to the existing social order in Indonesia, where many women support it in the domestic sphere so that it is attached to the existence of gender discrimination. One of the films by Kamila Andini with the title “Yuni” represents the social problems experienced by women who are trapped in the conception of patriarchal culture. This study aims to describe and analyze the message of patriarchy and gender discrimination experienced by women in the film Yuni using Sara Mills' critical analysis approach. The results show that there are two concepts of critical discourse analysis, which are seen from the position of the subject and the position of the reader or audience, where this study finds how women are represented as parties who do not have a major role in determining their right to life. The traditional patriarchal culture in Yuni's film scene makes women shackled to a stigma that leads to gender discrimination
SYMBOLIC MEANING OF COSTUMES AND PROPERTY GONG DANCE OF THE DAWAN TRIBE NANSEAN VILLAGE Kadek Paramitha Hariswari; Flora Ceunfin; Yohanis Devriezen Amasanan
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 25, No 1 (2023): Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPM Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/ekspresi.v25i1.2362

Abstract

Gong Dance is a profane dance of the Dawan Tribe community in Insana District, North Central Timor (TTU) Regency, East Nusa Tenggara Province which is usually danced in various events, both traditional events and as a reception dance.a symbol of authority, toughness, courage and masculinity of a Dawan tribe man. In particular, the symbolic meaning of Gong Dance is analyzed in terms of the costumes and properties used which are divided into three parts, namely the head which consists of pilu and pet no’o, body part consists of foke, molo, kain beti, pasu, sbeta and aluk. The leg consists of poentuf, bukhaef and giring-giring. While the properties of the gong dance are sumi and selendang. To analyze the symbolic meaning of the costumes and properties of the gong dance using qualitative descriptive analytical methods. Data obtained through observation and interviews as well as documentation.Keywords: Gong Dance; Symbolic Meaning; Costume and PropertyMAKNA SIMBOLIK PADA KOSTUM DAN PROPERTITARI GONG SUKU DAWAN DESA NANSEAN AbstrakTari  Gong merupakan sebuah tari profan masyarakat Suku Dawan yang ada di Kecamatan Insana Kabupaten Timor Tengah Utara (TTU) Provinsi Nusa Tenggara Timur yang biasanya ditarikan dalam berbagai acara baik acara adat maupun sebagai tarian penerimaan tamu. Tari Gong secara umum dimaknai oleh masyarakat Suku Dawan sebagai simbol kewibawaan, ketangguhan, keberanian dan kejantanan seorang laki-laki Suku Dawan. Secara khusus, makna simbolik Tari Gong dianalisis dari segi kostum dan properti yang digunakan yang terbagi menjadi tiga bagian yakni bagian kepala yang terdiri dari pilu dan pet no’o, bagian badan terdiri dari foke, molo, kain beti, pasu, sbeta dan aluk. Bagian kaki terdiri dari poentuf, bukhaef dan giring-giring. Sedangkan properti tari gong adalah sumi dan selendang. Untuk menganalisis makna simbolik kostum dan properti tari gong menggunakan metode kualitatif deskriptif analitikal. Data diperoleh melalui observasi dan wawancara serta dokumentasi.Kata Kunci: Tari Gong, Makna Simbolik, Kostum dan Properti
HUMANISTIC THOUGHT IN MUSIC ARTS EDUCATION Irdhan Epria Darma Putra
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 25, No 1 (2023): Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPM Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/ekspresi.v25i1.3261

Abstract

Research is the foundation of music education that has a humanistic mind. This research was conducted to determine the initial study of learning that could have been more optimal. Music education has not been able to express freedom and maturity. This research is due to a need to foster students' sense of awareness and responsibility. This awareness can expand students' experiences in music in the surrounding environment. The research used literature studies from ten articles published in national journals and then abstracted to compare the findings. The results showed that music education focuses on art elements, including expressing, appreciating, creating, and creating harmony in the environment. Music arts education can motivate students to discover the character and personality of students in knowledge, potential, and positive behavior in the surrounding environment.Keywords: Musical Art; Humanistic PerspectivePEMIKIRAN HUMANISTIK DALAM PENDIDIKAN SENI MUSIKAbstrak Riset merupakan landasan pendidikan musik yang berwawasan humanistik. Penelitian ini dilakukan untuk menentukan pembelajaran pembelajaran awal yang bisa lebih optimal. Pendidikan musik belum mampu mengekspresikan kebebasan dan kedewasaan. Penelitian ini dilakukan karena adanya kebutuhan untuk menumbuhkan rasa kesadaran dan tanggung jawab siswa. Kesadaran tersebut dapat memperluas pengalaman siswa dalam bermusik di lingkungan sekitarnya. Penelitian ini menggunakan studi literatur dari sepuluh artikel yang diterbitkan di jurnal nasional dan kemudian disarikan untuk membandingkan temuan tersebut. Hasil penelitian menunjukkan bahwa pendidikan musik menitikberatkan pada unsur seni yang meliputi mengungkapkan, mengapresiasi, berkreasi, dan menciptakan keselarasan dalam lingkungan. Pendidikan seni musik dapat memotivasi siswa untuk menemukan karakter dan kepribadian siswa dalam pengetahuan, potensi, dan perilaku positif di lingkungan sekitarnyaKata Kunci: Seni Musik; Perspektif Humanistik
THE EFFECTIVENESS OF BLENDED LEARNING-BASED LEARNING METHODS IN PIP VIOLIN SUBJECTS AT SMK NEGERI 8 SURAKARTA Witantri Catri Daniswari; Irfanda Rizki Harmono Sejati
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 25, No 1 (2023): Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPM Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/ekspresi.v25i1.2617

Abstract

Learning in Indonesia has experienced the impact of changes in learning activities due to the Covid-19 pandemic which has been spreading for around two years. The obvious change happen is in the learning process itself, some of the efforts that teachers has to prepare, such as adjusting the learning strategies and the learning methods accordingly.The purpose of this study is to describe the application of PIP violin learning with blended learning-based methods so it can run effectively. PIP Violin is a violin practice subject at SMK Negeri 8 Surakarta. In its application using drill and discourse learning methods which are implemented in blended learning (offline and online).The result of this research is that the learning process runs effectively, because by combining offline and online learning the learning process runs flexibly and there is no less learning. Effective learning aspects are seen from the learning process, student responses, communicative learning, management of learning activities and student learning outcomes.Keywords: Learning Effectiveness; Learning methods; Blended Learning; Violin LearningEFEKTIVITAS METODE PEMBELAJARAN BERBASIS BLENDED LEARNING PADA MATA PELAJARAN PIP BIOLA DI SMK NEGERI 8 SURAKARTA ABSTRAK  Pembelajaran di Indonesia mengalami dampak perubahan pada kegiatan pembelajaran dikarenakan adanya pandemi covid 19 yang mewabah selama kurang lebih dua tahun. Perubahan yang jelas terjadi ialah pada proses pembelajarannya ,beberapa upaya yang perlu disiapkan guru seperti menyesuaikan strategi pembelajaran dan metode pembelajaran yang sesuai.              Tujuan pada penelitian ini adalah untuk mendiskripsikan penerapan pembelajaran PIP biola dengan metode berbasis blended learning sehingga dapat berjalan efektif. PIP Biola merupakan mata pelajaran paktek biola yang berada di SMK Negeri 8 Surakarta. Dalam penerapannya menggunakan metode pembelajaran drill dan ceramah yang diimplementasikan secara blended learning ( luring dan daring).     Hasil dari penelitian ini adalah proses pembelajaran berjalan efektiv, karena dengan menggabungkan pembelajaran luring dan daring proses pembelajaran berjalan fleksibel dan tidak terjadi less learning. Aspek pembelajaran efektiv dilihat dari proses pembelajarannya, respon siswa, pembelajaran yang komunikatif, pengelolaan kegiatan pembelajaran dan hasil pembelajaran siswa.Kata Kunci: Efektivitas Pembelajaran; Metode Pembelajaran; Blended Learning;  Pembelajaran Biola
IMPROVED UNDERSTANDING OF PHOTO AND VIDEO COMPOSITION WITH PEER TEACHING METHOD Indah Susanti
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 25, No 1 (2023): Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPM Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/ekspresi.v25i1.2164

Abstract

Mastering the field of photography and videography, especially in composition which contains how to arrange the elements to be visualized. These two fields of knowledge synergize in producing creative visualizations. Moreover, graduates from the broadcasting major are prepared to be ready to enter the industrial world. It also directly demands cameramen to increase their abilities, especially in the process of formation and education. This prompted researchers to observe the ability and understanding of photo and video composition of class XI PSPT SMKN 1 Six Lingkung, Padang Pariaman Regency. To increase this understanding, researchers used the peer teaching method. So far, in the PSPT Department this method has never been applied in increasing theoretical understanding to achieve quality work.
REPOSITIONING THE CREATION OF NEW MINANGKABAU DANCE: ENTERTAINMENT MEDIA AND PRESERVATION OF LOCAL WISDOM Mia Fahmiati; Indrayuda indrayuda; Hana Shilfia Iraqi
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 25, No 1 (2023): Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPM Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/ekspresi.v25i1.3508

Abstract

This article aims to analyze the position of Minangkabau dance creations as entertainment and as a preservation of Minangkabau local wisdom. In addition, this article introduces creative dance as a new culture for the people of West Sumatra which has an impact on preserving Minangkabau local wisdom. This study used a qualitative method where data was collected through interviews, observation and literature review of Minangkabau contemporary dance creations. The validity of the data was tested through triangulation and analyzed based on the phenomena contained in the Minangkabau creation dance and then verified. The results of the study found that the existence of Minangkabau creative dance today is a form of representation of Minangkabau local wisdom so that creative dance can be accepted by the Minangkabau people in West Sumatra. Minangkabau dance creations are in process of creation and cannot be separated from the acculturation and reconstruction of Minangkabau dance traditions that once existed. In turn, this creative dance can maintain the existence of Minangkabau traditional dance as a cultural heritage of the Minangkabau people. Dance created by Minangkabau during this period has a position as public entertainment and as a medium for preserving the local wisdom values of the Minangkabau people.

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