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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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DONGKARI: INTERPRETASI PENEMBANG TERHADAP PEMBENTUKAN ORNAMENTASI VOKAL TEMBANG SUNDA CIANJURAN Setiaji, Denis
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.v13i1.3175

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.
KOMPLEKSITAS TABUH KREASI BARU GONG KEBYAR SANG NYOMAN PUTRA ARSA WIJAYA Adi, I Komang Kusuma
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.v13i1.3177

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.
KIPRAH DAN DAYA TARIK BAMBANG SP SEBAGAI MAESTRO KARAWITAN JAWATIMURAN Muhammad, Anbie Haldini; Simatupang, G.R. Lono Lastoro; Mulyana, Aton Rustandi
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.v13i1.3178

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.
Invensi Pertunjukan Gerbang Etam Orchestra dalam Erau International Folk Arts Festival Kapri, Riana; Sushartami, Wiwik; Irawati, Eli
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 13 No. 2 (2020)
Publisher : Institut Seni Indonesia (ISI) Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v13i2.3363

Abstract

Gerbang Etam Orchestra is a musical group that is always present at the Erau International Folk Arts Festival. Gerbang Etam Orchestra has a characteristic performance by combining Kutai Kartanegara ethnic music with a mass format. The purpose of this research is to identify the form of the Gerbang Etam Orchestra performance to review the use of the term “orchestra” whether it is in accordance with the rules of the music. This study used a qualitative method with an ethnomusicological approach to see the phenomenon of music which is influenced by hybridity and produces invention. This study uses Eric Hobsbawm's theory, the invention of tradition. The data analyzed were the results of observations, interviews, audio and video recordings. Furthermore, the data were analyzed using qualitative data analysis techniques by means of data reduction, data presentation, drawing conclusions and data verification. The results showed that the use of the term orchestra at the Gerbang Etam Orchestra produced a form of performance that had similar characteristics to orchestras in general. Even though it uses the term Western music, Gerbang Etam Orchestra still emphasizes the distinctive characteristics of Kutai Kartanegara ethnic music which is owned as a regional identity. This is manifested in the form of performances presented by the Gerbang Etam Orchestra.Keywords: Gerbang Etam Orchestra, Invention, Ethnic Music, Orchestra
POPULARITAS PERTUNJUKAN SENI ORGAN JAIPONG DI KABUPATEN SUMEDANG Nalan, Arthur S; Afriyanto, Suhendi
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 13 No. 2 (2020)
Publisher : Institut Seni Indonesia (ISI) Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v13i2.3369

Abstract

The Organ Jaipong is one of the popular arts that has developed in the Sumedang district. The existence of this art is quite new, but its popularity is well-known enough to attract enthusiasm from the public. This research focuses on factors have made of Organ Jaipong so popular, In analyzing this problem, the author applies the popular culture theory expressed by Raymond Williams as the main theory and uses Lawrence Grossberg's thinking as a supporting theory. This study uses a qualitative method with a descriptive analysis approach. The results of this study reveal that the origin of the Organ Jaipong developed and gained popularity was spearheaded by Edi Supriyadi, then re-developed by Dedi Budiman and Dani Maulana so that the Organ Jaipong was known to this day. The popularity of the Organ Jaipong is caused by several factors including: the sale of gamelan styles, the giving of the gamelan style, through oral, embedded in invitation papers, compact disc (CD) production, the role of the internet media, and the existence of urbanization.
PERAN NOTASI BALOK DALAM PEMBELAJARAN BIOLA DI LEMBAGA KURSUS MUSIK (Studi Kasus Pembelajaran Lagu Klasik dan Pop di Jogja Music School) Briyandewi, Santy Alif Patuh; Sushartami, Wiwik; Lono Lastoro Simatupang, Gabriel Roosmargo
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 13 No. 2 (2020)
Publisher : Institut Seni Indonesia (ISI) Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v13i2.3370

Abstract

Classical music notation is a basis for studying Western classical music instruments (including violin) in formal institution with majoring classical music. Based on pre-observation the author knows the classical music notation has undergoing adjustment in non-formal institution (music course), one of them is at Jogja Music School course violin class, so this research will discuss how a classical music notation play a role for students in the violin process in Jogja Music School. This research used a qualitative method with a musicological approach, that is done with observation, interviews, and documentation. Based on the data obtained from two students, it was found that one student played pop songs with classical music notation in different ways (playing improve) and author found the other student played pop songs without classical music notation, therefore in the discussion section the comparative technique is used to analyze the learning process of the two students. The results of this research showed that classical music notation has a role in forming the disciplinary attitude of students in playing a musical piece. The discipline in playing a musical piece includes the discipline of reading rhythm and melody, also discipline in playing the violin technique as written on the score.
SOUND OF “AIR BALIAN”: SEBUAH KOMPOSISI MUSIK BERDASARKAN AIR DALAM RITUAL ASEAK PENGOBATAN Alfath, Muhammad; Pratama, Amor
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 13 No. 2 (2020)
Publisher : Institut Seni Indonesia (ISI) Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v13i2.3419

Abstract

Music composition this sound of "Air Balian" means the sound of balian water. The word balian water refers to offerings used balian (shaman) Aseak Beubat ritual (treatment), which is in Empih Hamlet, Sumur Anyir Village, Sungai Penuh City. Basically this offering is water, with the chanting of this medium believed to be a medicine to cure pusako disease. But in fact in the life of water is not always positive, sometimes the water can destroy. The program was revealed into two musical sections namely Part I Shackled, and Part II Liberation. The musical elements of ritual mantras are used as vocabularies, and were developed with several classical music techniques (baroque-romantic) and 20-21 century music techniques. This work was played in a mix ensemble formation with music instruments violin, viola, violoncello, clarinet, triangle, shaker, tympanic, and vocal.
GENDHING GAMBIRSAWIT LARAS SLENDRO PATHET SANGA: Dari Meditatif Ke Gobyog Daryanto, Joko
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 13 No. 2 (2020)
Publisher : Institut Seni Indonesia (ISI) Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v13i2.3426

Abstract

Karya sastra merupakan salah satu sumber penulisan sejarah karawitan. Eksistensi sebuah gendhing dapat dilacak melalui karya sastra. Serat Centhini dan Sri Karongron adalah dua karya sastra yang mendeskripsikan eksistensi gendhing-gendhing di lingkungan istana. Penelusuran jejak sebuah gendhing bertujuan untuk mengetahui eksistensi, perubahan dan perkembangan gendhing. Gendhing Gambirsawit terlacak keberadaannya di dua karya sastra pada masa yang berbeda, yaitu Serat Centhini dan Sri Karongron. Pendekatan dan analisis sejarah digunakan untuk mengurai perjalanan Gendhing Gambirsawit laras slendro pathet sanga. Dari kajian dan analisis yang dilakukan terjadi transformasi garap Gendhing Gambirsawit dari meditatif menjadi gobyog. Selain mengalami transformasi garap, Gendhing Gambirsawit juga mengalami dekonstruksi.Dekonstruksi pada Gending Gambirsawit merupakan salah satu upaya kreator karawitan istana yaitu abdi dalem niyaga untuk mempertahankan ekssistensi Gendhing Gambirsawit laras slendro pathet sanga.
MODEL PENYAJIAN NGELIK PADA KESENIAN JEDORAN DI DUSUN DUKUHAN, RANDUBLATUNG, BLORA Susilowati, Fajarisma Apri; Fatimah, Mutiara Dewi
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 13 No. 2 (2020)
Publisher : Institut Seni Indonesia (ISI) Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v13i2.3537

Abstract

This research discusses the things behind the emergence of ngelik in Jedoran art and the ngelik presentation model in Jedoran art in Dukuhan Hamlet, Randublatung District, Blora Regency, Central Java. The theory used in this research is the style theory (music) by Alan Lomax and the musical function approach by Alan P. Merriam, which emphasizes the influence of the cultural characteristics of a society on the birth of art in the area and the concept of the function of music in a society's culture. The description of the study aims to find out the things behind the emergence of ngelik in Jedoran art, knowing the presentation model of ngelik in the art of Jedoran Dukuhan. The method used is a qualitative method by interviewing primary sources. Based on the results of this study, it can be concluded that there is ngelik in Jedoran art based on the characteristics and culture of the people who own the art.
PERJALANAN TEKNIK REKAMAN STEREOFONIK PADA KARAWITAN JAWA Santoso, Iwan Budi
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 13 No. 2 (2020)
Publisher : Institut Seni Indonesia (ISI) Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v13i2.3550

Abstract

The touch between karawitan and recording technology produce karawitan recording based on stereophonic forms. Stereophonics is a form of the next generation of monophonics recording. Monophonics has a single-track or single- sound while stereophonics emphasizes two-track recording. The recording technique with stereophonics eventually became the main choice in the development of music recording because it is able to bring the sound of music closer to the original. A stereophonic development for karawitan recording does not eventually begin. It is through the stages of time that finally stereophonic recording technology is used in Javanese karawitan recording.

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