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Sorai: Jurnal Pengkajian dan Penciptaan Musik

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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 122 Documents

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PIG-SQUEALS : TEKNIK PEKIK BABI DARI GENRE SLAMMING METAL Andhika Rifki Megantoro
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol 11, No 1 (2018)
Publisher : Institut Seni Indonesia Surakarta

ABSTRACTÂ 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,Â (2)Â volume intensity, and (3) "opacity" of articulation. According to George Baker's book (1963) entitled : The Common Sense of Singing, the â€œbeauty elementâ€ 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.Â Kata kunci : pig-squeals, slamming metal, estetika paradoks

PERSEPSI DALAM TRANSFORMASI KARYA SASTRA : STUDI PENGGUNAAN PUISI BUNGA DAN TEMBOK OLEH KELOMPOK MUSIK MERAH BERCERITA Choiri Fitriyanto
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol 11, No 1 (2018)
Publisher : Institut Seni Indonesia Surakarta

ABSTRACTÂ This paper attempts to describe how the Merah Bercerita music group builds the perception of Wiji Thukul's poem entitled "Flower and Wall" and pours it into a song. It is noteworthy that this musical work is not merely showing the phenomenon of mere musical performances, but also is an effort in giving musical power to the poetic text that is full of social criticism. In this qualitative research, data collection is done with emphasis on the concept of perception as the main perspective, then the data is interpreted to be analysed. The conclusion of this research is the existence of three stages in the process of perception conducted by Merah Bercerita group, namely (1) sensation, (2) attention, and (3) interpretation.Â Kata Kunci : persepsi, puisi, musik, bentuk musik

RECYCLE: DARI SAMPAH MENJADI BUNYI (KAJIAN PENCIPTAAN MUSIK KELOMPOK WAYANG SAMPAH DI SURAKARTA) Dony Setyawan
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol 12, No 1 (2019)
Publisher : Institut Seni Indonesia Surakarta

The Wayang Sampah (‘trash puppet’) group gives a new breakthrough inthe world of music and puppetry, as the sound phenomena that emergefrom musical instruments made from waste raw material, as well as theorganological and visual engineering of the waste become interestingreasons to study. The community’s inclination towards environmental issues becomes the main characteristic of the Wayang Sampah. The breakthrougho+ered is that the music must be sounded and that it must contain an environmental message for the public. For such cause, in their shows, theWayang Sampah always carry a message to save the environment from thedangers of poorly managed garbage. Second, the music used to accompanythe Wayang Sampah performance contains a composition that supports popmusic and tradition. Music is not always about the quality of sound and theconcept of music, but the breakthrough of medium sound is also animportant aspect in the world of music debate. The creativity of Toni Kondein manipulating the organology of waste or used goods is a breakthrough inthe world of recycling. Waste can create artistic sound with good musicalorganology engineering system. Third, this achievement in soundengineering leads to the compository process for new musical garaps. Themusical works presented in Wayang Sampah are works by Wahyu Tuwek.In their performance, Sojazz musicians perform musical interactions amongthe musicians in two forms of process. Gesture interactions include eyecontact, hand code, head jerking, lip reading and overall body postureapplied as cues while improvising. The second form of the process isthrough the musical interaction itself such as accompaniment, melodicphrase and rhythmic motif, tension growth, and trade four. The process ofmusical interaction applied by Sojazz musicians as mentioned above isthrough gesture used to create mutual interaction between musicians.Keywords: Recycle Music, Wayang Sampah, trash puppet.

TRADITIONAL MUSIC AND CONTEMPORARY TRENDS: MUSIC IN ASEAN COMMUNITIES Arsenio Nicolas
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol 12, No 1 (2019)
Publisher : Institut Seni Indonesia Surakarta

The traditional music and performing arts in the ASEAN have found new powerful conduits of transmission with the advent of the digital age. Although claims of cultural ownership over music and dance occasionally appear on social networks and media platforms, the ubiquity of the Internet has in fact benefitted the general public, allowing them access to images and sounds hitherto unknown. Modernisation has taken its toll on the region’s musical heritage. Ancient elements of indigenous music have faded away. The influx of popular and Western music has increasingly eroded the space and demand for traditional music. Many orchestras in the region feature diverse musical instruments tuned to a common Western tuning system, thus relinquishing their Asian musical roots. The fusion of Asian musical ensembles with Western musical instruments has forced the tuning of gongs, xylophones, metallophones, and singing to the Western diatonic scale, losing their indigenous resonances, sonorities, and timbres. Urbanisation and the migration of the young into urban areas disrupted the discontinuity in generational transmission of music. Village rituals and ceremonies play an important role in preserving ancient religious systems where music, dance, and theatre were essential as part of agricultural life, trance and curing rites, and communal well-being. The onslaught of mass media and the Internet has also accentuated the de-sacralisation of ritual spaces, leaving many musical traditions behind as memories of the past.Keywords: traditional music, urbanisation, de-sacralisation, memories, ASEAN.

PENCIPTAAN MUSIK KERONCONG DAN WAYANG INOVATIF DALAM PERTUNJUKAN CONGWAYNDUT Eko Aprianto Romadona
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol 12, No 1 (2019)
Publisher : Institut Seni Indonesia Surakarta

Congwayndut is one of the puppet groups whose performances depart from the traditional wayang (puppetry) style. The wayang play itself belongs to the comedy genre. Nevertheless, the stories presented are still adopted from the stories of Ramayana and Mahabarata. There are some interesting things to be used as discourse materials from Congwayndut, whose accompaniment belongs to the so-called keroncong music, while the duration of the music is shortened to two or three hours. The sanggit of the Ramayana and Mahabarata puppet stories are also interpreted humorouslyand “exibly. This paper reveals the musical facts in the puppet group, that keroncong music is able to give its own impression as pakeliran music. Then, the celloin keroncong music is able to provide a distinctive aesthetic touch toaccompany the war scene. Besides that, it also discussed the performance sketches of the Congwayndut group.Keywords: congwayndut, wayang keroncong, innovative shadow puppet.

EKSISTENSI PERTUNJUKAN DAN KONSEP DALAM BERKARYA SOLO BEATBOX COMMUNITY Tantri Nindyas Wari
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol 12, No 1 (2019)
Publisher : Institut Seni Indonesia Surakarta

The music carried by the Solo Beatbox Community has its own attraction in the form of a musical imitation of a show. Imitating the sound of musical instruments with mouth, i.e. playing music without using real musical instruments, the sound produced was almost indistinguishable to that of the original instrument. This uniqueness raises the aspects regarding the existence of the group’s performances whose by all means are inseparable from the works presented to the audience. Social media plays an important role in the development of their community, from promotions to publications on the Solo Beatbox Community. In order to get their stage, the Solo Beatbox Community uses the gethok tular (‘word of mouth’, ‘viva voice’) method to facilitate their access toward the upcoming shows. Member regeneration is also one of the efforts to prevent this community from dying out. They have elements in the conceptualization of their work that is based on the type and concept of the event in question, as well as the musical trends that are popular with the public. This triggered the existence of the Solo Beatbox Community show.Keywords: Solo Beatbox Community, The concept of creating Solo Beatbox Community.

AKTUALISASI SIMBOL-SIMBOL PERLAWANAN DALAM PERTUNJUKAN MUSIK HIP-HOP TRAHGALI SOULJA DI SURAKARTA Surya Purnama Putra
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol 12, No 1 (2019)
Publisher : Institut Seni Indonesia Surakarta

This paper contains the actualization of resistance symbols contained in the performances of Trahgali Soulja, a hip-hop music group based in Surakarta. This includes reviewing the audience’s response to the music performed. The problems that arise are (1) the efforts of the Soulja Trahgali music group in constructing the symbols of resistance, (2) the form of actualization of ideas or the construction of symbols through the stage actions performed by Trahgali Soulja that illustrate the ideology of resistance, and ( 3) audience’s response to the stage action offered by Trahgali Soulja. The production and packaging of Trahgali Soulja’s performances are carried out on the backstage/back region - including the discovery of musical ideology, the process of interpreting the ideology of resistance, and the behind-the-scene communications among players. Then a scenario for the performance is employed in the stage action on the front stage/front region, and of course there are elements to support the performances being prepared. The positive response is shown by the audience with the emergence of the Red Ax Soldier community which supports the entire behavior of Trahgali Soulja, and not even rarely did this community adopt the musical behavior of Trahgali Soulja. In addition, social media such as Facebook, YouTube and Instagram also become the showrooms for this group’s hip-hop songs.Keywords: actualization, symbol of resistance, hip-hop music performances, trahgali soulja.

HIP HOP “BERASA” JAWA (PROSES PENCIPTAAN MUSIK HIP-HOP KM 7 YOGYAKARTA) Chandra Okta Abrianto
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol 12, No 1 (2019)
Publisher : Institut Seni Indonesia Surakarta

Boedi Pramono’s creativity as the creator of the Hip Hop KM 7 group is by combining Javanese traditional music with hip hop music. This paper reviews from the beginning of Boedi Pramono’s artistic career until the formation of Hip Hop KM 7. The problems that arise are (1) Revealing and explaining the formation and structure of Hip Hop KM 7’s music, (2) Explaining the creative process of Hip Hop KM 7’s music. To answer such problems, this research employs qualitative research methods by studying empiricism, trying to be able to express objectively which is more oriented towards the field of textual research, with the addition of Bambang Sunarto’s concept of the creative process in art. The creative process of art is the process of finding the constructive elements of art in regards with (1) the artist’s belief in creating the artwork, (2) the vocabulary and the artistic model, (3) the artistic concepts and (4) the artistic models, which are then used as means to create the artwork, thus answering the question. This article reveals that: firstly, the musical form presented by Hip Hop KM 7 is a digital-based music enriched with gamelan idioms and in general Javanese traditional music. Here, the musical structure is divided into two musical impressions, namely the West and the Traditional music. Secondly, Boedi Pramono with his musical creativity formed Hip Hop KM 7 from a thickly artistic environment and later included the traditional element and further the traditional dance to the hip hop music.Keywords: Hip-hop Jawa, Hip-hop Km 7, Hip hop Yogyakarta.

Persepsi Pengaturan Sound System pada Pertunjukan Campursari Ringkes di Nogosari, Boyolali Triyan Adi Wibowo
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol 12, No 2 (2019)
Publisher : Institut Seni Indonesia Surakarta

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

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.

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

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

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.

Page 2 of 13 | Total Record : 122

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Reizki Habibullah

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reizkihabibullah@gmail.com

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+6281372370131

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jurnalsorai@gmail.com

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Jl. Ki Hadjar Dewantara No.19, Kentingan Jebres Surakarta, Indonesia

Location
Kota surakarta,

Jawa tengah

INDONESIA

Abstract

Abstract

Abstract

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Abstract

Abstract

Abstract

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Abstract

Home Page

OAI Link

Editorial Team

Contact

Reviewer

Google Scholar

Contact Name Reizki Habibullah

Contact Email reizkihabibullah@gmail.com

Phone +6281372370131

Journal Mail Official jurnalsorai@gmail.com

Editorial Address Jl. Ki Hadjar Dewantara No.19, Kentingan Jebres Surakarta, Indonesia

Location Kota surakarta, Jawa tengah INDONESIA

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Contact Name
Reizki Habibullah

Contact Email
reizkihabibullah@gmail.com

Phone
+6281372370131

Journal Mail Official
jurnalsorai@gmail.com

Editorial Address
Jl. Ki Hadjar Dewantara No.19, Kentingan Jebres Surakarta, Indonesia

Location
Kota surakarta,

Jawa tengah

INDONESIA