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.
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<![CDATA[APROPRIASI MUSIK KELOMPOK REBANA KASUKA NADA ]]>
<![CDATA[Nuuriyah Tarjono, Siti]]>;
<![CDATA[Kuwat]]>;
<![CDATA[Yanuar, Dani]]>
<![CDATA[ Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 17 No. 1 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia (ISI) Surakarta ]]>
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DOI: 10.33153/sorai.v17i1.5293
<![CDATA[This research discusses the reasons related to the thoughts of the Kasuka Nada tambourine group in choosing musical appropriation in their performances. Tambourines are mostly dominated by percussion instruments such as flying, but now tambourine music has experienced developments in innovation in terms of music media and song repertoire using adaptations of songs popularized by other singers, and adapting other people's works. This form of tambourine music innovation is called appropriation. The purpose of this study is to describe the process of appropriating music in the Kasuka Nada tambourine group, to describe the factors that influence the Kasuka Nada tambourine group in appropriating, to analyze the musical results of the Kasuka Nada tambourine group's musical appropriation, and to describe how the Kasuka Nada tambourine group performs. . This research was conducted using a qualitative descriptive analysis method, by way of describing the existing facts and then proceed with the analysis. The method used in this study is divided into four stages, namely data collection, data processing, data analysis, and drawing conclusions. The theoretical basis used to dissect this research is the theory of appropriation and performance theory. Based on the data analysis conducted, it was concluded that the purpose of the tambourine group appropriating is to preserve and maintain the continuity of tambourine music. Presenting trending songs and those that are liked by the public and then changing the lyrics to the theme of goodness and commendable teachings which are inserted with prayers are the hallmarks of the Kasuka Nada tambourine group, and there are internal and external factors that influence the Kasuka Nada tambourine group in appropriation of music.]]>
<![CDATA[FUNGSI MUSIK KALASON OTO SEBAGAI HIBURAN DALAM BUDAYA TRANSPORTASI MASYARAKAT SUMATRA BARAT ]]>
<![CDATA[Winaldo, Hafiz]]>;
<![CDATA[Darlenis, Teti]]>
<![CDATA[ Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 17 No. 1 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/sorai.v17i1.5533
<![CDATA[In this research, the author uses the concept of music function from Alan P. Meriam. After understanding the problem of the function of music contained in oto kalason (literally: car horn), from this concept, it can be explained that oto kalason functioned as the only entertainment in West Sumatran society at that time (especially when traveling by bus), both inside traveling by oto-oto (buses) at that time, or in people's daily activities. The horns on public transport buses at that time could play songs, sing, even the profession of being a car horn player was quite promising at that time. This horn sound is what many people have been waiting for, a sound that is loved by many people. This is a genre that has long colored the lives of the people of West Sumatra and the transportation (buses) of that time.]]>
<![CDATA[KARYA MUSIK LUNGUN: INTERPRETASI VOKAL ANDUNG BATAK TOBA DALAM KONSEP MUSIK KAMAR ]]>
<![CDATA[Simanjuntak, Yessica Yosia Virginia]]>
<![CDATA[ Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 17 No. 1 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/sorai.v17i1.5979
<![CDATA[Lungun is a musical work inspired by a tradition in the death ceremony of the Toba Batak people, called the andung tradition. Andung is a song of sadness that expresses one's feelings of grief for a loved one. Andung chanting is chanted by a pangandung (poet) using hata andung verses (Toba Batak fine literature) whose content tells the life history of someone who has died. In its current development, the andung tradition has shifted, and many cannot practice it because many younger generations can no longer speak hata andung, and andung singing which have been replacing with spiritual songs. The analysis of the andung tradition revealed distinct characteristics of the andung melody and the presentation of Gondang Sabangunan music for death ceremonies. The creation of the musical work Lungun aims to find out the musical form and its symbolic meaning. The method used is panca sthiti ngawi sani, which consist of five stages: (1) inspiration (ngawirasa), (2) exploration (ngawacak), (3) conception (ngarencana), (4) execution (ngawangun) and (4) production (ngabah). Lungun's musical work incorporates elements such as the Toba Batak scales, processed andung vocals, hata andung poems, rhythm processing, and Gondang Sabangunan playing techniques into chamber music performances. Lungun music has three parts: part I is mula-mula (beginning), part II is andung (vocal singing), and part III is poda (message). The symbolic meaning expressed in Lungun music refers to the values found in the Toba Batak community: the Dalihan Na Tolu Batak philosophy, the five levels of Toba Batak death, and the seven Toba Batak philosophies.]]>
<![CDATA[TUKANG RABAB DAN KABA RABAB PASISIA DALAM ACARA BARALEK DI NAGARI TALAO ]]>
<![CDATA[Maiben alpandi]]>;
<![CDATA[Mistortoify, Zulkarnain]]>
<![CDATA[ Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 17 No. 1 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/sorai.v17i1.6074
<![CDATA[The study "Tukang Rabab dan Kaba Rabab Pasisia dalam Acara Baralek di Nagari Talao, Sumatra Barat" explores the competencies and presentation of kaba rabab pasisia in baralek events. This performance reveals the richness of Minangkabau culture, from a warm opening to a meaningful core story. Through poetic lyrics and captivating music, Kaba enriches understanding of Minangkabau cultural values. Tukang Rabab, as cultural guardians, adeptly perform rabab pasisia and master Minangkabau language and literature. Social interaction is key to their competence, living within the community of rabab pasisia artists and exchanging knowledge and skills. Despite facing modernization challenges, the art of rabab pasisia remains relevant and valuable. The participation of tukang rabab in cultural events, art training, and preservation projects strengthens Minangkabau identity and cultural heritage. This performance fosters community solidarity and serves as a platform for learning life values, enriching and preserving Minangkabau cultural identity, and encouraging the younger generation to uphold ancestral traditions]]>
<![CDATA[KELOMPOK MUSIK CV. BINTANG GRUP: MEDIA MERAWAT IDENTITAS ADAT BATAK MELALUI MUSIK DI SOLO RAYA ]]>
<![CDATA[Barasa, Zepanya Saputra]]>;
<![CDATA[Setiawan, Aris]]>
<![CDATA[ Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 17 No. 1 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/sorai.v17i1.6158
<![CDATA[Migration is an activity that has become a tradition for the Batak people. The migration destinations extend beyond the island, one of which is in the Solo Raya area. The identity of the Batak community remains preserved during migration because their original customs and culture continue to be an integral part of their daily lives. The purpose of this journal is to explore the cultural life of the Batak community and the steps they have taken to preserve their traditional identity through music, specifically through CV. Bintang Group. The research method used in this journal is qualitative, collecting data through observation, interviews, literature studies, and several other methods. The findings indicate that the Batak community, represented by CV. Bintang Group, has successfully preserved their traditional identity through various means. These include teaching Batak music to their children, participat ing in cultural events outside of traditional Batak ceremonies, possessing a complete set of traditional Batak instruments, and being active on social media. The conclusion of this research is that the Batakcommunity has successfully maintained their traditional identity even while living in distant lands.]]>
<![CDATA[NEGOSIASI MUSIKAL DAN SOSIO-KULTURAL PADA KESENIAN GANJURAN DI PURA WISNU SAKTI KLATEN ]]>
<![CDATA[Supriyadi]]>;
<![CDATA[Setiyono, Budi]]>
<![CDATA[ Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 17 No. 1 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/sorai.v17i1.6240
<![CDATA[Ganjuran is a type of music that is a mixture of two types of music, namely Jathilan and Baleganjur music. This assimilation began with an identity polemic between Javanese and Balinese musicality which was felt by most Hindus in Klaten. The polemic turned out to be prolonged, until finally Pemuda Pura Wisnu Sakti offered a solution to blend the two musicalities. In carrying out assimilation, Pemuda Pura Wisnu Sakti apparently carried out musical and socio-cultural negotiations with various elements to find an ideal. Next, to describe the negotiations, Yuniawan’s negotiation strategy theory was used. The method used in this research is qualitative, descriptive analytic in nature. As a result, it was identified that there were musical negotiations which included instruments and playing patterns as well as socio-cultural negotiations which included identity, satisfaction of players and listeners, and suitability of musicality with worship. These results show that music can be used as a tool to maintain identity in a friendly way.]]>
<![CDATA[APROPRIASI MUSIK KELOMPOK REBANA KASUKA NADA ]]>
<![CDATA[Nuuriyah Tarjono, Siti]]>;
<![CDATA[Kuwat]]>;
<![CDATA[Yanuar, Dani]]>
<![CDATA[ Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 17 No. 1 (2024): July ]]>
Publisher : <![CDATA[Institut Seni Indonesia (ISI) Surakarta ]]>
Show Abstract
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Download Original
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Original Source
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Check in Google Scholar
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DOI: 10.33153/sorai.v17i1.5293
<![CDATA[This research discusses the reasons related to the thoughts of the Kasuka Nada tambourine group in choosing musical appropriation in their performances. Tambourines are mostly dominated by percussion instruments such as flying, but now tambourine music has experienced developments in innovation in terms of music media and song repertoire using adaptations of songs popularized by other singers, and adapting other people's works. This form of tambourine music innovation is called appropriation. The purpose of this study is to describe the process of appropriating music in the Kasuka Nada tambourine group, to describe the factors that influence the Kasuka Nada tambourine group in appropriating, to analyze the musical results of the Kasuka Nada tambourine group's musical appropriation, and to describe how the Kasuka Nada tambourine group performs. . This research was conducted using a qualitative descriptive analysis method, by way of describing the existing facts and then proceed with the analysis. The method used in this study is divided into four stages, namely data collection, data processing, data analysis, and drawing conclusions. The theoretical basis used to dissect this research is the theory of appropriation and performance theory. Based on the data analysis conducted, it was concluded that the purpose of the tambourine group appropriating is to preserve and maintain the continuity of tambourine music. Presenting trending songs and those that are liked by the public and then changing the lyrics to the theme of goodness and commendable teachings which are inserted with prayers are the hallmarks of the Kasuka Nada tambourine group, and there are internal and external factors that influence the Kasuka Nada tambourine group in appropriation of music.]]>
<![CDATA[FUNGSI MUSIK KALASON OTO SEBAGAI HIBURAN DALAM BUDAYA TRANSPORTASI MASYARAKAT SUMATRA BARAT ]]>
<![CDATA[Winaldo, Hafiz]]>;
<![CDATA[Darlenis, Teti]]>
<![CDATA[ Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 17 No. 1 (2024): July ]]>
Publisher : <![CDATA[Institut Seni Indonesia (ISI) Surakarta ]]>
Show Abstract
|
Download Original
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Original Source
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Check in Google Scholar
|
DOI: 10.33153/sorai.v17i1.5533
<![CDATA[In this research, the author uses the concept of music function from Alan P. Meriam. After understanding the problem of the function of music contained in oto kalason (literally: car horn), from this concept, it can be explained that oto kalason functioned as the only entertainment in West Sumatran society at that time (especially when traveling by bus), both inside traveling by oto-oto (buses) at that time, or in people's daily activities. The horns on public transport buses at that time could play songs, sing, even the profession of being a car horn player was quite promising at that time. This horn sound is what many people have been waiting for, a sound that is loved by many people. This is a genre that has long colored the lives of the people of West Sumatra and the transportation (buses) of that time.]]>
<![CDATA[KARYA MUSIK LUNGUN: INTERPRETASI VOKAL ANDUNG BATAK TOBA DALAM KONSEP MUSIK KAMAR ]]>
<![CDATA[Simanjuntak, Yessica Yosia Virginia]]>
<![CDATA[ Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 17 No. 1 (2024): July ]]>
Publisher : <![CDATA[Institut Seni Indonesia (ISI) Surakarta ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.33153/sorai.v17i1.5979
<![CDATA[Lungun is a musical work inspired by a tradition in the death ceremony of the Toba Batak people, called the andung tradition. Andung is a song of sadness that expresses one's feelings of grief for a loved one. Andung chanting is chanted by a pangandung (poet) using hata andung verses (Toba Batak fine literature) whose content tells the life history of someone who has died. In its current development, the andung tradition has shifted, and many cannot practice it because many younger generations can no longer speak hata andung, and andung singing which have been replacing with spiritual songs. The analysis of the andung tradition revealed distinct characteristics of the andung melody and the presentation of Gondang Sabangunan music for death ceremonies. The creation of the musical work Lungun aims to find out the musical form and its symbolic meaning. The method used is panca sthiti ngawi sani, which consist of five stages: (1) inspiration (ngawirasa), (2) exploration (ngawacak), (3) conception (ngarencana), (4) execution (ngawangun) and (4) production (ngabah). Lungun's musical work incorporates elements such as the Toba Batak scales, processed andung vocals, hata andung poems, rhythm processing, and Gondang Sabangunan playing techniques into chamber music performances. Lungun music has three parts: part I is mula-mula (beginning), part II is andung (vocal singing), and part III is poda (message). The symbolic meaning expressed in Lungun music refers to the values found in the Toba Batak community: the Dalihan Na Tolu Batak philosophy, the five levels of Toba Batak death, and the seven Toba Batak philosophies.]]>
<![CDATA[TUKANG RABAB DAN KABA RABAB PASISIA DALAM ACARA BARALEK DI NAGARI TALAO ]]>
<![CDATA[Maiben alpandi]]>;
<![CDATA[Mistortoify, Zulkarnain]]>
<![CDATA[ Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 17 No. 1 (2024): July ]]>
Publisher : <![CDATA[Institut Seni Indonesia (ISI) Surakarta ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.33153/sorai.v17i1.6074
<![CDATA[The study "Tukang Rabab dan Kaba Rabab Pasisia dalam Acara Baralek di Nagari Talao, Sumatra Barat" explores the competencies and presentation of kaba rabab pasisia in baralek events. This performance reveals the richness of Minangkabau culture, from a warm opening to a meaningful core story. Through poetic lyrics and captivating music, Kaba enriches understanding of Minangkabau cultural values. Tukang Rabab, as cultural guardians, adeptly perform rabab pasisia and master Minangkabau language and literature. Social interaction is key to their competence, living within the community of rabab pasisia artists and exchanging knowledge and skills. Despite facing modernization challenges, the art of rabab pasisia remains relevant and valuable. The participation of tukang rabab in cultural events, art training, and preservation projects strengthens Minangkabau identity and cultural heritage. This performance fosters community solidarity and serves as a platform for learning life values, enriching and preserving Minangkabau cultural identity, and encouraging the younger generation to uphold ancestral traditions]]>
