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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 182 Documents
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Transmisi Musik Lokal-Tradisional Gondang Oguong oleh Salman Azis Habibullah, Reizki; Purwanto, Sigit; Aulia, Riza Alif
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 15 No. 2 (2022)
Publisher : Institut Seni Indonesia (ISI) Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v15i2.4737

Abstract

Gondang Oguong is a local-traditional music ensemble of the community in the Limo Koto customary area of Kampar Regency. Until now, Gondang Oguong art is still being passed on to the next generation. This study aims to reveal and explain the transmission process of Gondang Oguong by artist Salman Azis, including objects, actors, and transmission mechanisms, using ethnographic methods. Salman Azis carried out the stages of the learning method, which began with efforts to attract children's interest, using close and distant communication patterns, as well as listening and imitating exercises. Transmission is one of the essential aspects of cultural inheritance related to enculturation, internalization, education, and socialization activities. For this reason, this research is expected to support the sustainable practices of local-traditional music as part of the culture.
Etnomusikologi Indonesia: Menyoal Representasi, Menemukan Relevansi Setiyono, Budi
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 15 No. 2 (2022)
Publisher : Institut Seni Indonesia (ISI) Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v15i2.4874

Abstract

The discipline of Ethnomusicology in Indonesia still has problems related to issues of representation, relevance and contribution to benefit. This paper will discuss how efforts are being made to realize the discipline of Indonesian Ethnomusicology and offer more relevant paths. The discussion is qualitatively based on a general review of the historical setting of the emergence of representation issues in the Ethnomusicology discipline, considering the urgency of the representation issue in the context of Ethnomusicology in Indonesia and trying to read the Indonesian context to be able to offer a more relevant style of discipline. Questioning representation is an important matter in the discipline of Ethnomusicology in Indonesia, but there is work that needs to be done more hastily. Designing scientific disciplines that can help answer socio-political and cultural issues, such as issues of tolerance, radicalism, conflicts between groups, issues of ecology, economy and culture itself will be more able to make ethnomusicology more beneficial.
SOSIALISASI DAN INTERNALISASI DALAM PEMBELAJARAN DRUM ANAK-ANAK (Studi Kasus Pengajaran Drum di Lembaga Kursus Musik West Brothers) Permana, Indra
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 11 No. 2 (2018)
Publisher : Institut Seni Indonesia (ISI) Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v11i2.2310

Abstract

ABSTRACT This paper begins with an interest in seeing the musical abilities of children learners of non-formal institutions of West Brothers music course in playing the drum, where the children show "maturity" in the musical. The level of difficulty, the selection of song repertoire, and the stage action presented by the children tends to resemble drum players of adolescence and adulthood. This raises a question about socialization and internalization in learning. West Brothers as an educational institution becomes a place of transmission of knowledge, skills, and values from? educators to learners. In the process of transmission, there is socialization and internalization through social interaction in drum learning activities. This research aims to know how the form of socialization and internalization in the drum learning process in West Brothers, especially in children learners, and how the process of socialization and internalization that form behavior patterns manifest in the musical ability of children playing drum musical instruments. This paper reveals that child behavior patterns embodied in the ability and taste of musical drumming are influenced and shaped through the process of interaction between learners and teachers in the West Brothers environment, including socialization and internalization. Kata kunci : sosialisasi dan internalisasi, west brothers, kursus drum solo
FUNGSI GENDING AYAK WOLU PADA WAYANG KULIT GAGRAG JAWA TIMURAN KI SURWEDI Ristiono, Jepri
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 11 No. 2 (2018)
Publisher : Institut Seni Indonesia (ISI) Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v11i2.2311

Abstract

ABSTARCT This article originated from the interest of the author when he saw the phenomenon that occurred in the East Javanese leather puppet show Ki Surwedi, especially gending Ayak pathet Wolu which is very dominating. The discussion is focused on the gending function of Ayak pathet Wolu which concerns the relation of the song with the gamelan, so that it can conclude about the role and function of the song. Therefore, this article is qualitative with priority on the form of interview data and literature, and presented in descriptive-analytic. The data collected from various sources was analyzed using the function theory initiated by Alan P. Merriam in a book entitled The Anthropology of Music, translated by Hajizar in the form of "Concept as Source of Analysis". From this research, it can be concluded that the gending function of Ayak pathet Wolu in wayang Ki Surwedi is one of the art forms from ancestors that has been passed down from generation to generation. Therefore, it has become our collective duty to preserve it in order to avoid extinction. Kata kunci: ayak wolu, fungsi gendhing, wayang Jawa Timuran, Ki Surwedi
PENGARUH KARAWITAN GAYA SRAGEN PADA SELERA MASYARAKAT KEBAKKRAMAT Wahyudi, Joko
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 11 No. 2 (2018)
Publisher : Institut Seni Indonesia (ISI) Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v11i2.2312

Abstract

ABSTRACT This article discusses the influence of Sragen Style on the change of gamelan performance in Kebakkramat, Karanganyar. The Kebakkramat community who previously liked the performance style of Surakarta gamelan, are currently experiencing a change in taste to prefer Sragen style. Sragen style is popular in Sragen regency, because its location is adjacent to Karanganyar regency, giving influence to the style of karawitan art presentation in Kebakkramat sub-district. Sragen style gamelan has the characteristic of being simpler, louder, and easier to understand, and more flexible because Sragen style can be presented in all genres of songs, one of them being dangdut. Factors affecting the changing tastes of the population are increasing and decreasing population, new discoveries and environmental conditions. People in Kebakkramat sub-district experienced an increase and decrease of the population which indirectly affected the social and cultural environment. The emergence of a community of lovers of Sragen style and the rapidly growing media role also became an influence on people's tastes. In addition, the use of additional instruments in Sragen style and the role of MC in guiding the event to give a new color that makes the atmosphere more playful so is more liked by the community. Sragen style that tends to contradict with Surakarta style is increasingly in demand by Kebakkramat community, so indirectly causes pros and cons, both from artist and music lovers. In response, the two opposing views can be combined with reference to four dimensions, namely capitalism, industry, supervision and control. It aims to make Sragen style accepted as art of karawitan, but still under supervision and control, so as not to go too far of the characteristic of karawitan itself. Kata Kunci : karawitan, gaya Sragen, Sragenan, pengaruh, perubahan, Kebakkramat.
KARYA MUSIK YOUTH KELOMPOK MUSIK SOLOENSIS (Kajian Proses Penciptaan Dan Makna Teks Lagu) Utomo, Bekti Setyo
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 11 No. 2 (2018)
Publisher : Institut Seni Indonesia (ISI) Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v11i2.2313

Abstract

ABSTRACT This paper focuses on the creative process of the song entitled Youth, and also the meaning of the lyrics. The lyrics and the structure of the music presented is a contradiction between the lyrics and the musical form. The song Youth created by the Soloensis music group used the major scales. Then, the character of their musical composition is cheerful and uses instruments that are not normally played in their works. The song Youth is a song with a message about the anxiety of the creator's youth. In the end, the content of the message is transformed into a song with a contrasting musical composition. This music constructs an atmosphere of anxiety and sadness using the diatonic major scale which is usually cheerful. Kata kunci : musik youth, soloensis, makna teks lagu
MUHAMAD KARNO KUSUMO DARMOKO PELOPOR KARAWITAN SRAGENAN Widodo, Robert Aris
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 11 No. 2 (2018)
Publisher : Institut Seni Indonesia (ISI) Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v11i2.2314

Abstract

ABSTRACT Starting from an idea to reveal the creativity of the artist who spearheaded the emergence of Karawitan Sragenan, Muhamad Karno Kusumo Darmoko through the process of artistry with the art work. Sragenan style started when the karawitan in Sragen began to be displaced by Dangdut music (orkes Melayu). Karno is one of the artists in Sragen who feel anxious about the situation and think about how to keep karawitan alive in Sragen. With the spirit of maintaining the existence of karawitan in Sragen and by having the educational background of art, Karno did some experimental process working on musical karawitan which culminate in an invention musical concept Sragenan style. Karno classifies that there are two concept of patterns in Sragenan style, they gecul and dangdut. The existence of Karawitan Sragenan style also has an impact on karawitan in Sragen, Sragen society and Muhamad Karno Kusumo Darmoko as the pioneer of Sragenan. Kata kunci : M. Karno KD, karawitan, kreativitas, Sragenan
KARYA KOMPOSISI MUSIK TETEG, REINTEPRETASI TRADISI PATHETAN SLENDRO SANGA NGELIK Fatimah, Mutiara Dewi
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 11 No. 2 (2018)
Publisher : Institut Seni Indonesia (ISI) Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v11i2.2315

Abstract

ABSTRACT The word “teteg” comes from the Java language which means dare to deal with all issues both physical and non-physical. Teteg has the same synonym with tatag, tangguh, tanggon, and teguh. The form of this musical work is a reinterpretation of the traditional repertoire into a musical composition with new forms and colors. With the method of developing the traditional source, the composer carries the tradition of pathetan Sanga Ngelik. Pathetan sanga ngelik as the source of the creation of this music will be processed with a “garap” approach. One of the elements of garap mentioned above includes: technique, pattern, rhythm, laya, laras, pathet, and dynamics. Pathetan sanga ngelik will be described into several forms such as, merong form, ladrang, ketawang, lancaran, ayak-syak, srepeg, and palaran. This music also explores various characters which is called "rasagendhing" that consists : rasa sereng, gagah, regu, prenes, sigrak, gumyak, luruh, and gayeng or gecul. In this part, drama and music concepts appear in this work. Some other styles also exist in this work, among others: this work combines Surakarta style (Solo), Yogyakarta style, Nartosabdan style and also style outside the palace (rural) or Sragenan. The idea of this art work will be framed by the concept of "teteg" with meaning contained. Kata kunci: komposisi musik, teteg, reintepretasi tradisi pathetan slendro sanga ngelik 
KERONCONGKU, NGRONCONGI Prabowo, Bayu Raditya
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 11 No. 1 (2018)
Publisher : Institut Seni Indonesia (ISI) Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v11i1.2316

Abstract

ABSTRACT Keroncong music has a basic concept of musical achievement that is often expressed by keroncong artists with the word "ngroncongi". Ngroncongi is a term that refers to the Java language. Keroncong becomes the basic word, which at the beginning of the word is affixed "Ng- "  and at the end the word gets "-i", so initially keroncong is a noun, turning into an adjective after it turns into "ngroncongi". Ngroncongi is a musical aspect that becomes an indication of keroncong music characteristic. Ngroncongi will be achieved when it reaches the aesthetic and keroncong culture. Musicality which is "ngroncongi" is constructed by several musical elements such as, samen spelen; ngglali; nyendaren; mbesut; luk; gojek; isen-isen; mbanyumili; and sintiran. Those elements are synergized to accommodate the concept of "ngroncongi". The elements of rhythmic pattern are sintiran, mbanyumili, and gojek. The elements for ornamentation are ngglali; mbesut; luk; nyendaren; and isen-isen. While the element of "samen spelen" is for a musical interaction between players by giving each other musical communication. These elements found from the emissive knowledge of keroncong players who are represented in musical way to build musicality which is called "ngroncongi". Kata kunci : Keroncong, Ngroncongi, Musikalitas
PIG-SQUEALS : TEKNIK PEKIK BABI DARI GENRE SLAMMING METAL Megantoro, Andhika Rifki
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 11 No. 1 (2018)
Publisher : Institut Seni Indonesia (ISI) Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v11i1.2345

Abstract

ABSTRACT Pig-squeals is a vocal technique that produces a sharp screech resembling the sound of a pig in the Slamming Metal genre. The sound-produced articulation sounds vague, even sounds amateur, but in fact pig-squeals vocals require difficult pronunciation and breathing techniques. The vocals of the pig-squeals itself contains aesthetic elements such as (1) quality of the sound, (2)  volume intensity, and (3) "opacity" of articulation. According to George Baker's book (1963) entitled : The Common Sense of Singing, the “beauty element” in the pig-squeals technique, especially related to the principle of vocal articulation, is considered to be non-conventional, so in this study the Paretox Aesthetic concept of Jakob Soemardjo is used. The elements of beauty that support the vocals of pig-squeals include gesture and vocal mimic that adds to the impression of ferocity of the slamming metal genre. Kata kunci : pig-squeals, slamming metal, estetika paradoks

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