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Reizki Habibullah
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INDONESIA
Sorai: Jurnal Pengkajian dan Penciptaan Musik
Published by Institut Seni Indonesia Surakarta
ISSN : 24073938     EISSN : 26849445     DOI : -
Core Subject : Humanities, Art,
Arts Humanities
The journal invites original, significant, and rigorous inquiry into all subjects within or across disciplines related to music creation, music studios, and ethnomusicology. It encourages debate and cross-disciplinary exchange across a broad range of approaches. The spectrum of topics include: 1) Review of Nusantara Music 2) Sociology of Music 3) Anthropology of Music 4) World Music Culture 5) Digital Music Studies 6) Archaeology of Music 7) Intercultural Studies of Music 8) Ethnography of Music 9) Music and Multicultural Education 10) Music Criticism 11) Musician Profile and Thought 12) Artistic Review of the Music Creation Process.
Arjuna Subject : Seni dan Humaniora - Musik
Articles 7 Documents
 1 
Search results for , issue "Vol 13, No 1 (2020)" : 7 Documents clear
PEMAHAMAN ASPEK METAFORA MUSIK LESUNG DALAM GENDHING KUPU TARUNG DI MAGETAN Dea Lunny Primamona
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol 13, No 1 (2020)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v13i1.2846

Abstract

The uniqueness of the rhytm pattern (gendhing) of the mortar in Magetan lies on the title of the gendhing-gendhing adopted from the name and behavior of the animal. This study focuses on the analysis of metaphorical aspects in the gendhing entitled Kupu Tarung. In this study, metaphor serves as a bridge that communicates certain messages contained in the gendhing Kupu Tarung. One of the results of this analysis is the name of gendhing Kupu Tarung originating from the moment of a mating butterfly, which is then captured in the image scheme, and represented by the creative power (fantasia power) of the community. The collision between the two types of butterfly genitals, which are the essence of the butterfly mating moment, is interpreted in the form of a link between pestles facing each other. Through this mortar gendhing, ancestors transmit the value of fertility (in terms of agriculture and also sexuality) to agrarian communities in the language of art.
DONGKARI: INTERPRETASI PENEMBANG TERHADAP PEMBENTUKAN ORNAMENTASI VOKAL TEMBANG SUNDA CIANJURAN Denis Setiaji
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol 13, No 1 (2020)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v13i1.3175

Abstract

The following research aims to explain about how Dongkari as aesthetic concept, constructing ornamentation in Tembang Sunda Cianjuran. This research employs phenomenology approach also filedwork activity and depth interview with singer or “penembang” who exist around Bandung, West Java. This studydescribes the Dongkari as element of ornamentation which is used by penembang to create ornamentation in performing Tembang Sunda Cianjuran songs. As a result, Dongkari as the basic construction of ornamentation, should be operated by penembang based on virtuocity and interpretation of each penembang.
LAGU SETIA JANJIKU: BENTUK PEMBARUAN MUSIK KERONCONG GAYA ISMANTO Soladi Soladi; Wisnu Mintargo; Kiswanto Kiswanto
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol 13, No 1 (2020)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v13i1.2841

Abstract

Songs that develop in keroncong music have been classified strictly based on their form, including the keroncong asli, langgam, stambul, and several other forms. The classification has become a very chain rule, as a result the creativity that emerges among keroncong musicians is often considered to be incompatible with the standards or parameters aesthetic of keroncong music by most keroncong music performers. These conditions do not always limit the composers and / or creators of keroncong songs to be creative in producing new products with different styles. One of them can be found in Ismanto's artworks around the 1960s. In one of his songs entitled Keroncong Setia Janjiku, Ismanto seems to have hit the boundaries that have been applied, but has a novelty with a strong character. The findings of this study indicate that the Song Setia Janjiku is a song keroncong asli  that nglanggami.
BENTUK DAN PERUBAHAN FUNGSI MUSIK KONGKIL DI DESA BUNGKAL KABUPATEN PONOROGO Bina Kiki Rahayuningsih; Iwan Budi Santoso
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol 13, No 1 (2020)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v13i1.3091

Abstract

Kongkil music was created in 1933 by Eyang Toinangun as a means of gathering the people of Bungkal Village as an effort to resist the Dutch invaders. Kongkil music is an ensemble consisting of instruments of kongkil, kedhang, saron, kethuk, kenong, kempul and gong. In the beginning, Kongkil's music brought songs created by its members with the theme of passion-building, because there was no legacy of the old repertoire of the predecessors. There was an innovation in the form of repertoire changes since 1975, namely bringing dolanan gendhing. Around 2000, Kongkil's music was in a vacuum, then it was revived in 2012 with a new repertoire that presented lancaran and langgam gendhing. The research entitled "The Form and Change of Kongkil Music Function in Bungkal Village, Ponorogo Regency" uses the concept of Edy Sedyawati's thought that changes in social structure and values will cause physical changes and the role of art itself in society. It also causes changes in the structure of forms. These changes cannot be avoided if the art is willing to live within the society. This study uses descriptive qualitative analysis methods.  From this study, it found several things related to the Kongkil Martapura music group, including: (1) History and regeneration of the Kongkil Martapura music group, (2) the forms of performances, instruments and repertoires presented, (3) the factors driving changes in function and its impact on intellectuals and contextual.
PENGARUH MUSIK AMERIKA LATIN TERHADAP INDONESIA Daniel Antonio Milan Cabrera
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol 13, No 1 (2020)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v13i1.3093

Abstract

Since the beginning of the last century, Latin American music has been succes in the U.S. music industry because its intrinsic musical characteristics and its involvement within the film industry. Through the U.S. and Europe, it has been influencing popular music around the world; including Indonesia, Malaysia, Singapore, and India, countries that also contributed to the diffusion of Latin styles in Indonesia. The corpus of original works of Indonesian-Latin music is quite huge and has great quality; particularly audio recordings done in the 1950s and 1960s that mixed Latin, Western, and regional musical elements to create new musical forms know as lagu daerah (regional songs) and pop daerah (regional pop). This article aims to provide some understandings of this complex diffusion process utilising mainly a bibliographical research method (books, journals, digital news, etc.), interviews, and listening-based information from old audio recordings. My hipothesis is that Latin American music has been well accepted in Indonesia, espetially in Java and Sumatra, due to historical crossroads that spread musical and cultural similarities in both regions. In order of its importance in Indonesian-Latin music, these are: the conection of Asia and America during the Spanish, Portugal, and Holand colonial era; the Islamic influence in Indonesia, India, Malaysia, and the Iberic peninsula; the influence of Dutch music in Indonesia and German music in Latin America; the role of African music in Latin America and the probable two side influences between Africa and Indonesia; and the inmigration to Amerika from Nusantara-Oceania sailors in prehistoric times.
KIPRAH DAN DAYA TARIK BAMBANG SP SEBAGAI MAESTRO KARAWITAN JAWATIMURAN Anbie Haldini Muhammad; G.R. Lono Lastoro Simatupang; Aton Rustandi Mulyana
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol 13, No 1 (2020)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v13i1.3178

Abstract

Bambang Sukmo Pribadi or known as Bambang SP is a developer-maestro of karawitan Jawatimuran. The record of maestro was found in International Gamelan Festival 2018, Surakarta. A maestro title is not something easy to earn, however it’s also need to be known particularly in which extent Bambang SP’s attraction as a maestro in karawitan Jawatimuran. Bambang SP has a few covered record as a maestro and the discourse of karawitan Jawatimuran also not widely known especially in karawitan Jawatimuran community. The aim of this study is to explore constellation paradigm between Bambang SP and karawitan Jawatimuran. This paper is describing how Bambang SP’s creativity expands karawitan Jawatimuran. This practice holds conclusion of the use of karawitan Jawatimuran’s idiom at any expanding works as Bambang SP’s innovation. In the other hand, Bambang SP doesn’t leave the existence of traditional art in karawitan Jawatimuran. This attractiveness indirectly followed by his fellows as well as next generations.
KOMPLEKSITAS TABUH KREASI BARU GONG KEBYAR SANG NYOMAN PUTRA ARSA WIJAYA I Komang Kusuma Adi
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol 13, No 1 (2020)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v13i1.3177

Abstract

ABSTRACTThe complexity indicates the main characteristics of karawitan art as the meaning of the word “rawit” which means refined and complicated. Composing the complexity on Tabuh Kreasi Baru Gong Kebyar is not considered easily if it is not balanced by the good knowledge related to gamelan and its musical elements. Similarly, it is considered as the ways of the idea actualization which manifested into a music compostion. A talented composer namely Sang Nyoman Putra Arsa Wijaya is currently being a point of interest related to his musicality “Tabuh-Tabuh Kreasi Baru”  which seems too complicated. This Research tries to investigate the cases which construct the complexity of  musucality on Tabuh Kreasi Baru created by Sang Nyoman with textual ethomusicology approach. Based on the result of inductive, interpretative, and garap analysis, it can be assumed that (1) the complexity of Tabuh Kreasi Baru by Sang Nyoman is influenced by his art behaviours. (2) all off structure, achievement of technical play, and the work system of instruments are designed by the concepts witch have the complicated sound to guess and attracting audiences to think of it. (3) some of material which have been processed are the musical elements of Gong Kebyar that never used by most musicians. Then, (4) some of instruments on his garap are the manifestation of interescting style of western music composition. Basically, Sang Nyoman considers the complexity on his desire in case to contribute the new insight related to the aesthetics of a composition and persuades the art lovers to do not think passively, otherwise they are able to develop their ability of imagination and intellegence in apreciating an art work.Keyword : Complexity, Sang Nyoman, Tabuh Kreasi Baru, Gong Kebyar ABSTRAKKompleksitas  merupakan ciri pokok seni karawitan sebagaimana arti kata “rawit” yang berarti halus dan rumit. Mencipta kompleksitas pada Tabuh Kreasi Baru Gong Kebyar, bukan perkara mudah jika tidak diimbangi dengan pengetahuan yang cukup terkait gamelan beserta unsur-unsur musikalnya. Begitu juga dengan cara mengaktualisasikan ide dan gagasan ke dalam wujud komposisi. Seorang komposer  bernama Sang Nyoman Putra Arsa Wijaya belakangan tengah menjadi sorotan terkait musikalitas Tabuh-tabuh Kreasi Baru-nya yang dipandang  begitu komplek. Penelitian ini berupaya mengungkap hal-hal yang mengkonstruksi kompleksitas musikal Tabuh Kreasi Baru Sang Nyoman dengan pendekatan tekstual etnomusikologi. Berdasarkan hasil analisa induktif, interpretatif dan garap, maka dapat diketahui bahwa; (1) kompleksitas Tabuh Kreasi Baru Sang Nyoman dilatar belakangi oleh pola-laku kesenimananya. (2) segala bentuk struktur, capaian teknik permainan dan  sistem kerja instrumen didesain sedemikian rupa oleh konsep yang bunyinya “susah ditebak” dan “ikut berpikir”. (3) sebagian materi yang diolah merupakan unsur-unsur musikal Gong Kebyar yang jarang digunakan oleh seniman  kebanyakan. Begitu juga dengan (4)  prabot garapnya yang sebagian merupakan hasil silang gaya komposisi musik barat. Pada intinya Sang Nyoman mempertimbangkan kompleksitas itu atas keinginan untuk memberi wawasan baru terkait estetika komposisi, dan mengajak penikmat seni untuk tidak pasif, melainkan dapat mengembangkan kemampuan imajinasi dan intelekstual dalam berapresiasi seni.Kata kunci : Kompleksitas, Sang Nyoman, Tabuh Kreasi Baru, Gong Kebyar.

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