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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 181 Documents
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Kreativitas Musik Sudilam sebagai Pedagang Arbanat di Kabupaten Jember Amrullah, Fauriza Atim
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 12 No. 2 (2019)
Publisher : Institut Seni Indonesia (ISI) Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v12i2.2831

Abstract

This qualitative research reveals the musical creativity of Sudilam, an arbanat or arumanis seller in Jember Regency, East Java, who peddles merchandise by means of rebab (stringed fiddle instruments). Sudilam creativity is the subject of a problem to be explored more deeply. The concept of creativity in working from Rahayu Supanggah is the basis for analyzing. It is stated that the musical characteristics created in a musician are manifested in the individual process and environment, which is supported by various creative endeavors through the use of facilities and media they have. The study concludes that Sudilam long journey as an arbanat seller by means of a rebab has given birth to musical creativity oriented toward the goal of interaction with buyers. This creativity did not come suddenly, but through several stages and important events that Sudilam had experienced in his life.
Persepsi Pengaturan Sound System pada Pertunjukan Campursari Ringkes di Nogosari, Boyolali Wibowo, Triyan Adi
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 12 No. 2 (2019)
Publisher : Institut Seni Indonesia (ISI) Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v12i2.2833

Abstract

A sound system operator at a wedding celebration in Nogosari, Boyolali, has his own perception in addressing the sound management. One of the operators in this area is Dardi. Neither coming from a family of musicians not having academic background in the field of sound engineering, Dardi is capable of operating the sound system to satisfy his listeners with his performance. As a sound system regulator, Dardi has served sound system service providers at celebrations with puppet shows, dangdut, rebana, and campursari. Each performance is carried out with a different setup. Among the differing setups, Dardi is more competent in the setup of campursari shows. Based on the Dardi’s perceptions on sound system regulation, the author is interested in studying the perception of the sound system operator in the sound of campursari music? Based on the findings from the analysis of Dardi's perception as the sound system operator, there are many considerations and adaptations to different places of performance. He initially practiced in the field without being equipped with theory or science, that he tried his best to be approved by following his brother’s workflow. Through this process, he slowly learned and perfected his own amplification setup. His habit of listening to the sounds of various musical instruments also helps sharpen his musical sensitivity. The awareness that was built by Dardi was through empirical experience and instinct for the sounds he heard. This makes his sound system settings always changes instead of being fixed.
Inovasi Musikal Reyog Kawula Bantarangin di Desa Kauman Ponorogo Jawa Timur Mahatma, Prasasti Resi
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 12 No. 2 (2019)
Publisher : Institut Seni Indonesia (ISI) Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v12i2.2834

Abstract

The Kawula Bantarangin Reyog Ponorogo Group in Kauman Village, Kauman District, Ponorogo Regency, has made a new work outside the musical standard commonly used in Reyog Obyogan shows, which uses non-traditional musical instruments to create something new. Technically, there is a change in the garap that brings out different musical nuances into the show.This paper focuses its approach on musical-contextual events. The perspectives of Robert J. Sternberg, Utami Munandar, and Bernedeca Prihatini Dwi Riyani became a reference to the writer's perspective to describe the innovations of the Reyog Kawula Bantarangin group.The description of the form of musical innovation is guided by the perspective of Alan P. Merriam, Barnett, and Koentjaraningrat.This article also explains how innovation is formed from the dimensions of creativity in the work of Reyog's musical accompaniment which is driven not only by internal factors, but also by external factors, namely the existence of the Reyog Festival which motivates the Reyog Kawula Bantarangin actors to continue innovating. The form of work was originally based on Reyog Obyog, but then converted into an innovative work. It has an internal impacts, that it can grow confidence and stimulate a sense of creativity. As a result, the works of the Reyog Kawula Bantarangin group now receives wider recognition from the public, has increased stage performances, and increased financial income. There is also an external impact, that it has triggered a healthy competition of creativity with other Reyog groups. This way, in the end, the Reyog Ponorogo art will continue to develop and can be kept away from extinction.
Perubahan Gaya Resitasi Raja Guhya Yoga dalam Bhagawad Gita: Studi Kasus di Pura Mutihan Sangga Buana Klaten Nugraha, Ichsandy Kurnia
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 12 No. 2 (2019)
Publisher : Institut Seni Indonesia (ISI) Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v12i2.2835

Abstract

This scientific research, entitled “Changes in the Recitation Style of Raja Guhya Yoga in the Bhagavad Gita: Case Study at the Mutihan Sangga Buana Temple in Klaten”, is based at the aforementioned phenomena observed on the dharma gita at Pura Mutihan Sangga Buana, Gantiwarno, Klaten. Musical changeshave happenedin the way scriptures are recited, particularly in regard with the sloka form. Changes in the developingrecitation systems and methods become important to be studied and written on academic papers. Initially, the dharma gita was recited in the Sruti style, the standardised style used in sloka and mantra recitations. However, the year 2014 saw the beginning of a new era where a style called Irama Prabu Darmayasa began to be used instead of the standard Sruti style. Soon afterwards, another new style emerged where the dharma gita started to be sung in the Kinanthi Salisirstyle accompanied with Gendhing Ketawang Subakastawa. This research employs theories on cultural changes to analyse the data, such as those by Koentjaraningrat, Gillin & Gillin, and Soemardjan. It discusses factors that trigger the development of a tradition, namely 1) the achievement-motivated development and 2) the social frustration-based development.Such theories are considered suitable to study the field phenomena, particularly the change in dharma gita recitational style that are based on the abovementioned factors. In fact, the writer finds that the on cultural changes are best used to analyse the topic when combined with Supanggah’s theory of style.
Mitos Gendhing dalam Upacara Bersih Dusun Dalungan, Kelurahan Macanan, Kecamatan Kebakkramat, Kabupaten Karanganyar Dewi, Ita Puspita
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 12 No. 2 (2019)
Publisher : Institut Seni Indonesia (ISI) Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v12i2.2836

Abstract

This paper, entitled “Gendhing Myth in the Bersih Dusun Ceremony in Dalungan, Macanan, Kebakkramat, Karanganyar” started from the writer's interest in seeing the socio-cultural phenomenon that has become an annual tradition for Dalungan Hamlet residents. This study aims to uncover the gendhing posted by the community in the bersih dusun ceremony of the Dalungan hamlet. The myth of Gendhing is inseparable from the factors that influence the existence of sacred values related to the rite. The magical value that exists in the Gendhing is based on the cultural belief system of Javanese actors and other supporting elements of ritual such as folklore and cultural values inherited from the ancestors. The myth of Gendhing must also be supported by the presence of dhanyang and also the pundhèn caretaker, as well as community leaders such as the RW leader, RT leader, Dalungan elders, and the entire Dalungan community. This research uses qualitative research methods, including observation, data collection, data analysis, data presentation, and conclusions. This research uses P.S Hary Susanto's myth theory which explains the myths according to Mercia Eliade's thought,  which is to solve problems related to the myths of Javanese cultural society and the myth of Gendhing in the clean ritual of the Dalungan hamlet.
Kajian Instrumentasi dan Organologi Gendang Beleq Sanggar Mertaq Mi Lombok Tengah Nusa Tenggara Barat Mega Saputra, Gde Agus
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 12 No. 2 (2019)
Publisher : Institut Seni Indonesia (ISI) Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v12i2.2837

Abstract

It is of absolute importance, to maintain the art of Gendang Beleq when it comes to its sustainability among the Sasak culture. Therefore, being the identity of Lombok Island in West Nusa Tenggara, the awareness of the people possessing such art is highly demanded, in order to safeguard its advancement. It means that when people do not realize that Gendang Beleq is an asset or representation of their culture, there are many uncertainties regarding the future of its existence. The most obvious thing is the lack of reference related to the explanation of the names of the instruments contained in this art, as well as the organology of Gendang Beleq that has never been published in the form of research journals and books. This paper is more of an effort to explore and understand the existence of each instrument in the Gendang Beleq ansamble group. To capture the value of knowledge and overall description related to Gendang Beleq's art in order to obtain data as desired, the time of the research is conducted using a qualitative approach. Organological studies are used to understand or explore the essence of the presence of each instrument. The researcher as the main instrument was in direct contact with the object of study. Various efforts such as in-depth interviews, documentation, direct involvement in art activities, and conducting in-depth dialogues with actors in this case are carried out to obtain thorough information related to the object of study.
LAGU SETIA JANJIKU: BENTUK PEMBARUAN MUSIK KERONCONG GAYA ISMANTO Soladi, Soladi; Mintargo, Wisnu; Kiswanto, Kiswanto
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 13 No. 1 (2020)
Publisher : Institut Seni Indonesia (ISI) 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.
PEMAHAMAN ASPEK METAFORA MUSIK LESUNG DALAM GENDHING KUPU TARUNG DI MAGETAN Primamona, Dea Lunny
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 13 No. 1 (2020)
Publisher : Institut Seni Indonesia (ISI) 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.
BENTUK DAN PERUBAHAN FUNGSI MUSIK KONGKIL DI DESA BUNGKAL KABUPATEN PONOROGO Rahayuningsih, Bina Kiki; Santoso, Iwan Budi
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 13 No. 1 (2020)
Publisher : Institut Seni Indonesia (ISI) 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 Cabrera, Daniel Antonio Milan
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 13 No. 1 (2020)
Publisher : Institut Seni Indonesia (ISI) 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.

Page 15 of 19 | Total Record : 181

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