Sorai: Jurnal Pengkajian dan Penciptaan Musik
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.
Articles
14 Documents
Search results for
, issue
"Vol. 16 No. 1 (2023)"
:
14 Documents
clear
<![CDATA[DAPUR KE PANGGUNG: BENTUK DAN MODA PERTUNJUKAN TALEMPONG GANDANG LASUANG ]]>
<![CDATA[Tri Ananda]]>;
<![CDATA[Wiwik Sushartami]]>;
<![CDATA[Aton Rustandi Mulyana]]>
<![CDATA[ Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 16 No. 1 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.33153/sorai.v16i1.5005
<![CDATA[Talempong Gandang Lasuang Talempong Gandang Lasuang is one of the Minangkabau women's talempong music ensembles in Sikapak Timur Village, Pariaman City. This art had disappeared in Sikapak in the 1980s and reappeared in 2010 with a different performance space, from the kitchen to the stages of the performing arts realm followed by changes in its formal elements. This study aims to determine changes in the form and mode of TGL performances in the kitchen and on stage. This research is a qualitative research. The results of this study show that, TGL kitchen and stage are performance events with different forms and modes of performance. As a talempong music ensemble, the change of TGL from the kitchen to the stage is related to six basic elements of music namely transition, style, genre, text, movement and composition. The formal elements are presented in two modes of performance according to the space; kitchen and participatory mode which contains the idea of play; stage and presentational mode which contains the idea of display.]]>
<![CDATA[KREATIVITAS SANDI SUNAN KENDANG DALAM PERTUNJUKAN DANGDUT KOPLO DI BANYUWANGI ]]>
<![CDATA[Gigih Among Buwono]]>;
<![CDATA[Wahyu Purnomo]]>
<![CDATA[ Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 16 No. 1 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.33153/sorai.v16i1.5052
<![CDATA[Creativity of Sandi Sunan Kendang in Dangdut Koplo Performances in Banyuwangi discusses the phenomenon of a drum musician whose real name is Sandi Pratama who is usually called Sandi Sunan Kendang. He is one of the drum musicians who popularized the Banyuwangian style of dangdut koplo music in East Java. In essence, this article discusses Sandi Sunan Kendang's activities related to his life background in the development of Dangdut Koplo with Banyuwangi nuances. Sandi Sunan Kendang comes from a family of artists, he departed from a traditional artist to enter the world of dangdut koplo. As a special dangdut koplo musician as a drum player, he includes Banyuwangian drum patterns such as Kuntulan with the aim that drum musicians and young people can learn about regional culture, especially Banyuwangi. Keywords: Sandi Sunan Kendang, dangdut koplo, creativity]]>
<![CDATA[ANSAMBEL TOKTAK: PEMANFAATAN LIMBAH INSTRUMEN ANGKLUNG LEWAT PROSES RECYCLE DI INSTITUT SENI BUDAYA INDONESIA (ISBI) BANDUNG ]]>
<![CDATA[Moch Gigin Ginanjar]]>;
<![CDATA[Ega Fausta]]>;
<![CDATA[Hinhin Agung Daryana]]>
<![CDATA[ Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 16 No. 1 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.33153/sorai.v16i1.5081
<![CDATA[Dalam konteks tradisi budaya Sunda, bambu merupakan salah satu jenis bahan tumbuhan yang memiliki banyak fungsi, salah satunya sebagai bahan utama pembuatan alat musik angklung. Meski dikenal sebagai bahan yang murah dan mudah ditemukan di wilayah Sunda, namun karakteristik bahan bambu yang cenderung tidak tahan lama menimbulkan berbagai kondisi yang bermasalah. Eksistensi seni angklung yang terus berkembang hingga saat ini karena berbagai inovasi yang dilakukan seniman menyisakan persoalan. Di lingkungan pendidikan formal ISBI Bandung yang memiliki prodi Angklung dan Musik Bambu, pemborosan alat musik angklung masih menjadi masalah serius. Tulisan ini akan menjelaskan secara detail tentang pemanfaatan alat musik angklung bekas melalui proses daur ulang untuk menghasilkan ansambel baru yang disebut ansambel Toktak.]]>
<![CDATA[PINK NOISE SEBAGAI GUIDE DALAM MIXING ]]>
<![CDATA[Dyah Murwaningrum]]>;
<![CDATA[R. Adhitya Indrayuana]]>
<![CDATA[ Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 16 No. 1 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.33153/sorai.v16i1.5086
<![CDATA[Pink noise adalah noise yang memiliki intensitas bunyi sama kuatnya pada tiap oktaf. Populernya pink noise sebagai bunyi yang ramah di telinga manusia juga telah didukung oleh beberapa riset psikologi dan neuroscience. Kecenderungan intensitas bunyi dan frekuensi dalam pink noise searah dengan teori Fletcher Munson yang merupakan kecenderungan dari pendengaran manusia secara umum.Penelitian ini berusaha untuk menginformasikan bahwa pink noise dapat digunakan sebagai pendekatan mixing secara visual, agar mixing menjadi semakin detail dan efisien. Metode yang digunakan pada penelitian ini adalah kuantitatif-kualitatif. Beberapa lagu K-pop dipilih sebagai sample untuk mengecek kecenderungan spektrum lagu dan keidentikannya terhadap spektrum pink noise. Alat penelitian menggunakan software Studio one 5 dan plug in spektrum meter. Selanjutnya proses tersebut akan dianalisa untuk mendapatkan kelemahan dan kelebihan pink noise saat dijadikan sebagai pendekatan dalam mixing. Hasil penelitian ini adalah ditemukannya bukti bahwa pink noise memiliki keidentikan pada lagu-lagu korea yang mendunia. Dan hasil penelitian ini diharapkan dapat menjadi metode atau pendekatan mixing atau setidaknya pendekatan pada fase pra mixing dalam produksi audio.]]>
<![CDATA[METODE TRANSMISI GONG KEBYAR PADA KOMUNITAS KARAWITAN BALI DI SURAKARTA ]]>
<![CDATA[Riza Alif Aulia]]>;
<![CDATA[I Nengah Mulyana]]>
<![CDATA[ Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 16 No. 1 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.33153/sorai.v16i1.5223
<![CDATA[Gong Kebyar is one of the most popular gamelan ensembles from Bali. The distribution of Gong Kebyar is almost spread throughout the archipelago and even the world. One of them is in the city of Surakarta, which is rich and thick with Javanese culture and art. The rich and thick Javanese culture in Surakarta does not prevent Gong Kebyar from being able to grow and develop in this city. The transmission practice has been going on since the first time Gong Kebyar arrived in Surakarta until now. Groups or communities of Gong Kebyar took turns forming. Uniquely, the transmission practice is carried out to people who do not have a Balinese cultural background, in this case the majority are Javanese. Using the lens of traditional music transmission theory from Irawati which mentions three main elements in transmission practices namely actors, content, and mechanisms, this study aims to reveal the methods used by Gong Kebyar teachers in Surakarta in transmitting their knowledge to students from different backgrounds.]]>
<![CDATA[GENDER LANANG SEBAGAI MANIFESTASI BUDAYA AREK DALAM KARAWITAN JAWA TIMURAN ]]>
<![CDATA[Ahmad Muzaqqi]]>;
<![CDATA[Warih Handayaningrum]]>;
<![CDATA[Eko Wahyuni Rahayu]]>
<![CDATA[ Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 16 No. 1 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.33153/sorai.v16i1.5666
<![CDATA[Gender lanang is a dominant instrument in the karawitan gagrak Jawa Timuran, which illustrates how the dialectics of arek culture society are so egalitarian, outspoken, which distinguishes between Surakarta and Yogyakarta styles, with a psychological, social, and cultural approach, how the gender lanang instrument with a high tone depicts the character of arek society in dialect, which in fact the gender lanang instrument uses high notes.]]>
<![CDATA[PENDIDIKAN KARAKTER MELALUI PEMBELAJARAN MUSIK LOKAL TRADISIONAL GONDANG OGUONG PADA ANAK-ANAK OLEH SALMAN AZIS ]]>
<![CDATA[Reizki Habibullah]]>;
<![CDATA[Sigit Purwanto]]>;
<![CDATA[Nora Putri Sofyan]]>
<![CDATA[ Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 16 No. 1 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.33153/sorai.v16i1.5719
<![CDATA[This research aims to uncover how Salman Azis teaches the local-traditional music Gondang Oguong, not just as practical training but also as an effort to instill education for character-building values, particularly within the cultural context of Malay in Kampar, to his students. The focus of this research is on the character education values embedded in the Gondang Oguong performance and how Salman Azis carries out the process of instilling these values. To gather information related to these issues, this research employs an ethnographic approach and draws upon the theory of character construction in music education. The results of this research are expected to provide insights and serve as a reference for the development of character education methods through local-traditional music instruction.]]>
<![CDATA[DAPUR KE PANGGUNG: BENTUK DAN MODA PERTUNJUKAN TALEMPONG GANDANG LASUANG ]]>
<![CDATA[Ananda, Tri]]>;
<![CDATA[Sushartami, Wiwik]]>;
<![CDATA[Mulyana, Aton Rustandi]]>
<![CDATA[ Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 16 No. 1 (2023): July ]]>
Publisher : <![CDATA[Institut Seni Indonesia (ISI) Surakarta ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.33153/sorai.v16i1.5005
<![CDATA[Talempong Gandang Lasuang Talempong Gandang Lasuang is one of the Minangkabau women's talempong music ensembles in Sikapak Timur Village, Pariaman City. This art had disappeared in Sikapak in the 1980s and reappeared in 2010 with a different performance space, from the kitchen to the stages of the performing arts realm followed by changes in its formal elements. This study aims to determine changes in the form and mode of TGL performances in the kitchen and on stage. This research is a qualitative research. The results of this study show that, TGL kitchen and stage are performance events with different forms and modes of performance. As a talempong music ensemble, the change of TGL from the kitchen to the stage is related to six basic elements of music namely transition, style, genre, text, movement and composition. The formal elements are presented in two modes of performance according to the space; kitchen and participatory mode which contains the idea of play; stage and presentational mode which contains the idea of display.]]>
<![CDATA[KREATIVITAS SANDI SUNAN KENDANG DALAM PERTUNJUKAN DANGDUT KOPLO DI BANYUWANGI ]]>
<![CDATA[Buwono, Gigih Among]]>;
<![CDATA[Purnomo, Wahyu]]>
<![CDATA[ Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 16 No. 1 (2023): July ]]>
Publisher : <![CDATA[Institut Seni Indonesia (ISI) Surakarta ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.33153/sorai.v16i1.5052
<![CDATA[Creativity of Sandi Sunan Kendang in Dangdut Koplo Performances in Banyuwangi discusses the phenomenon of a drum musician whose real name is Sandi Pratama who is usually called Sandi Sunan Kendang. He is one of the drum musicians who popularized the Banyuwangian style of dangdut koplo music in East Java. In essence, this article discusses Sandi Sunan Kendang's activities related to his life background in the development of Dangdut Koplo with Banyuwangi nuances. Sandi Sunan Kendang comes from a family of artists, he departed from a traditional artist to enter the world of dangdut koplo. As a special dangdut koplo musician as a drum player, he includes Banyuwangian drum patterns such as Kuntulan with the aim that drum musicians and young people can learn about regional culture, especially Banyuwangi. Keywords: Sandi Sunan Kendang, dangdut koplo, creativity]]>
<![CDATA[ANSAMBEL TOKTAK: PEMANFAATAN LIMBAH INSTRUMEN ANGKLUNG LEWAT PROSES RECYCLE DI INSTITUT SENI BUDAYA INDONESIA (ISBI) BANDUNG ]]>
<![CDATA[Ginanjar, Moch Gigin]]>;
<![CDATA[Fausta, Ega]]>;
<![CDATA[Daryana, Hinhin Agung]]>
<![CDATA[ Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 16 No. 1 (2023): July ]]>
Publisher : <![CDATA[Institut Seni Indonesia (ISI) Surakarta ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.33153/sorai.v16i1.5081
<![CDATA[Dalam konteks tradisi budaya Sunda, bambu merupakan salah satu jenis bahan tumbuhan yang memiliki banyak fungsi, salah satunya sebagai bahan utama pembuatan alat musik angklung. Meski dikenal sebagai bahan yang murah dan mudah ditemukan di wilayah Sunda, namun karakteristik bahan bambu yang cenderung tidak tahan lama menimbulkan berbagai kondisi yang bermasalah. Eksistensi seni angklung yang terus berkembang hingga saat ini karena berbagai inovasi yang dilakukan seniman menyisakan persoalan. Di lingkungan pendidikan formal ISBI Bandung yang memiliki prodi Angklung dan Musik Bambu, pemborosan alat musik angklung masih menjadi masalah serius. Tulisan ini akan menjelaskan secara detail tentang pemanfaatan alat musik angklung bekas melalui proses daur ulang untuk menghasilkan ansambel baru yang disebut ansambel Toktak.]]>
