cover
Article Per Year (5 Year)
All
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
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 122 Documents
 3   4   5   6   7 
SAPTONO DALAM MELESTARIKAN DAN MENGEMBANGAN KARAWITAN TRADISI SURAKARTA Utami Ciptaningsih; Zulkarnain Mistortoify
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol 14, No 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v14i1.3826

Abstract

This qualitative research is about the figure of Saptono in the world of classical Surakarta-style karawitan. Saptono is a skilled musician in mastering the repertoire of gendhing and ricikan in all types of Javanese Surakarta-style gamelan. Apart from being a former lecturer at ISI Yogyakarta, he also serves as a gamelan musician at the Surakarta Kasunanan Palace. High loyalty and musical virtuosity made Saptono appointed Kanjeng Raden Riyo Aryo (K.R.R.A) Saptonodiningrat and given a special task as tindhih of gamelan musicians at the Surakarta Kasunanan Palace. Two basic questions arise about how Saptono creative activities maintain the continuity of the Surakarta style musical and what reasons encourage him to do these activities. Based on these two questions, it is known that all forms of loyalty to the Surakarta Kasunanan Palace are shown by Saptono by utilizing all of his musical potential in creating classical Surakarta style gendhing, which is specifically dedicated to King Paku Buwana XIII. Saptono dedication to the development of karawitan to the wider community is shown through his willingness to become a music teacher at home and abroad, become a courtier of musicians at the Kasunanan Surakarta Palace, and become a driving force for the Muryoraras art community as a meditation association with Javanese gamelan instruments.
KETERAMPILAN ANSAMBEL DALAM MUSIK KAMAR (STUDI KASUS MARSKANSKEY STRING QUARTET) Arum Kusuma Dewi; Royke Bobby Koapaha; Gabriel Roosmargo Lono Lastoro Simatupang
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol 14, No 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v14i1.3709

Abstract

String Quartet is the most popular form of Chamber Music. In a string quartet there are no conductors as leaders, directors and music coordinators, no wonder many quartets end up disbanding due to problems. Marskanskey String Quartet is a group from Jogja that has been around for a long time and has more achievements, although based on initial observations this group looks the same as other groups. This research was appointed to find out what aspects of ensemble skills, how to apply ensemble skills in the Marskanskey group. To explore how the application of ensemble skills in the Marskanskey group, the author discusses the case with Keller's theory of ensemble skills. The author's theory considers that he is able to describe the discourse thoroughly, comprehensively and deeply, namely skills from the rehearsal process to performances. This research is a qualitative research with a case study approach. The results showed that Marskanskey had applied ensemble skills both in rehearsal and concert. With strategies in practice, including self-preparation until perfomances can influencing and supporting the success of a group to achieve maximum sound production. Interestingly, the researchers found a shift in function in the use of cues, as well as limitations in Keller's theory, namely the online cog-motor ensemble skill that occurs automatically.
LANGEN SEKAR PAMUJI ALIRAN BARU DALAM MUSIK RELIGI GEREJA KRISTEN JAWA DI SURAKARTA Midhang Langgeng Sembodo; Bambang Sunarto
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol 14, No 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v14i1.3815

Abstract

AbstraksiPenelitian yang disusun dalam karya tulis ilmiah ini mencoba menggali dan menemukan sebuah kepingan kecil mengenai ragam musik religi. Suatu aliran musik ‘baru’ yang disebut Langen Sekar Pamuji dideklarasikan pada tahun 1955 bertepatan dengan perayaan ulang tahun Gereja Kristen Jawa Margoyudan yang ke-25 di Surakarta. Dekade 2000 ini, Langen Sekar Pamuji tetap bertahan bahkan mengalami perkembangan. Namun hingga kini, belum ada yang mencoba meneliti tentang seluk beluk Langen Sekar Pamuji. Ciri musikal dijadikan poin utama dalam pembahasan, agar terlihat sejauh mana batasan dan bentuk yang khas melalui kajian atas sejumlah karya yang dihasilkan Langen Sekar Pamuji. Selain itu, dibahas pula peran para Penyusun lagu atau gending serta respon civitas gereja yang menjadi faktor penentu atas perkembangan dari Langen Sekar Pamuji selanjutnya.Untuk membedah permasalahan yang diajukan, dipilih jenis penelitian kualitatif deskriptif yang ditinjau dari perspektif emik dengan metode pengumpulan data, validitas, dan analisis data. Ada pun landasan konseptual yang digunakan yaitu Garap dari  Supanggah yang menekankan pada ide, proses, tujuan, dan hasil garap. Selain itu, konsep kreativitas dari Sukerta yang mengatakan bahwa untuk penyusunan karya musik dibutuhkan perangkat, meliputi: keberanian, mencari yang baru dan tidak sekedar aneh.Hasil dari pencarian informasi mengenai ciri musikal dan perkembangan Langen Sekar Pamuji adalah pertama, kehadiran LSP di GKJ dapat diduga sebagai kelanjutan lambang perlawanan terhadap sistem liturgi di GKJ yang diatur sejak zaman Penjajahan Belanda. Kedua, LSP termasuk Aliran Baru dalam Musik Religi  Kristiani di Surakarta. Ketiga,  Ciri LSP adalah dihilangkannya garap abon-abon dan wangsalan di dalam sajiannya. Penghilangan ini dilakukan, karena menyangkut tentang hakikat suatu kotbah yaitu menyampaikan firman Tuhan yang dianggap suci dan serius. Keempat, Perkembangan LSP sangat ditentukan oleh perhatian civitas jemaat GKJ se-Klasis Surakarta dan Sinode Jawa Tengah. Peran lembaga Perguruan Tinggi Agama Kristen seperti Universitas Kristen Duta Wacana (UKDW) Yogyakarta juga dinantikan kelanjutannya.Kata Kunci: Langen Sekar Pamuji, Ciri Musikal, Aliran Musik Gereja.
PROSES KREATIF SISWA HOMESCHOOLING DALAM PENCIPTAAN MUSIK MELALUI PEMBELAJARAN GITAR (STUDI KASUS : KELAS GITAR SANGGAR REGENERASI) Pelangi Dienna Deyane Sasmita
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol 14, No 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v14i1.3777

Abstract

Guitar learning are held in formal institutions such as schools, generally only give basic theoretically teaching about music or just how to play a musical instrument well. The same thing is often found in many music courses. However, in the case of the Sanggar Regeneration guitar class, beside doing guitar lesson, students are often able to produce musical works. Guitar learning in the Sanggar Regeneration guitar class are conducted by mentors to homeschooling students of PKBM Semesta Ilmu. This research shows that the guitar learning process at Sanggar Regeneration also includes the transmission process and creativity in it. In this case, knowledge between mentors and homeschooling students is carried out and becomes continuous learning. The highlight of this guitar learning is a change in behavior in the form of students' ability to play the guitar. Through this guitar learning process students are also active and critical, so that students' creativity can emerge based on their practice and experience. This has an impact on students and is developed into innovative products, one of which is the music of the homeschooling student.
GONDANG SITOLUPULUTOLU PADA UPACARA ADAT SAUR MATUA MASYARAKAT BATAK TOBA SILAHISABUNGAN Sopandu Manurung; Gabriel Roosmargo Lono Lastoro Simatupang; Aton Rustandi Mulyana
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol 14, No 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v14i1.3715

Abstract

Gondang Sitolupulutolu is a gondang ensemble that can only be found in the Toba Batak community. They are Silalahisabungan clan group. Gondang sitolupulutolu is very important in the Silahisabungan community because it can not be separeted from the traditional ceremonies. This study aims to determine how the use and function of the gondang sitolupulutolu in one of the traditional ceremonies of the Silahisabungan community, namely saur matua. This study use a qualitative method. Alan P. Meriam’s (1964) theory of use and function was chosen to see the use and function of the gondang sitolupulutolu. The results showed that the Gondang Sitolupulutolu was used at the opening ceremony during the manortor (ceremonial dance) and at the end of ceremony (closing ceremony). While the function of the gondang sitolupulutolu at the traditional ceremony of Saur Matua is as an expression of joy and sorrow, as entertainment, as a means of communication to convey prayers to God, as a symbol, and as a validation of the Saur Matua traditional ceremony.
DIFUSI INOVASI KESENIAN DRUMBLEK (Studi Kasus Kelompok Drumblek B’CAD Desa Bener, Kec. Tengaran, Kab. Semarang) Doni Kusuma Negara; I Nengah Muliana
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol 15, No 1 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v15i1.4160

Abstract

This study describes the diffusion and adoption of the drumblek art in the people of Bener Village, Tengaran District, Semarang Regency, Central Java. This research uses interview, observation, and literature study methods. The theory of innovation diffusion by Everett Rogers is used to analyze the process and stages of the diffusion and innovation of drumblek art in the Bener community. This research shows that the art of drumblek through the formation of the B’CAD group as a forum to unite and resolve disputes that previously occurred between the residents of Bener Village. The process of diffusion of drumblek art innovations in Bener Village is a stage of the process of knowledge, persuasion, decision making, implementation and confirmation, after going through these stages a B’CAD group is then formed with all the consequences that result in it.
FUNGSI SHOFAR DALAM PERIBADATAN DI GJKI MILLENIUM DAMAI MINISTRI SURAKARTA Yona Ari Prihandhini; Sigit Astono
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol 14, No 2 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v14i2.3982

Abstract

This paper describes the function of shofar at GJKI Millennium Damai. This qualitative research generally based on Malinowski's theory, and contextually based on Merriam’s theory. Qualitative research data were collected through interviews, literature studies, and observations of the previous worship documentation videos. The results of the study show that, spiritual needs of GJKI Millennium Damai’s concegeration which embrace the tabernacle of Mose is an impulse, then the act is using shofar, the result is spiritual satisfaction. Contextually function of shofar first, that the function of the Shofar in worship is as as a vertical communication medium between the servant and the God. Second, the function of the Shofar plays, believed that the sound of the Shofar makes God's presence more pronounced, so the concegration responded such as crying, clapping, dancing and so on. Third, shofar as a validation of religious rituals, in accordance with the recommendations of the Exodus Bible, which contains the concept of Mose’s tabernacle and is believed to be true by the GJKI Millennium Damai.
NURTURE DAN NATURE PADA IRINGAN MUSIK NGINGGUT DALAM RITUAL SEMEGAH ERAU PELAS BENUA DI GUNTUNG KALIMANTAN TIMUR Yusuf Rizky N.C; Paramitha Dyah Fitriasari; Eli Irawati
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol 14, No 2 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v14i2.3910

Abstract

Nginggut music tradition in the Semegah ritual is one of the cultures that has been maintained until now. Nginggut and Belian musicians are important elements of bonding, harmony, magical and sacred atmosphere in the implementation of rituals. The ritual implementer must be a person who is considered capable of carrying out the ritual and has physical, psychological, and reasoning endurance. This view forms the social construction of the paradigm that men are people who deserve to carry out rituals, both as leaders and musicians. Meanwhile, women are the people who support the ritual, because they are considered naturally unable to fulfill the requirements as ritual implementers. The theory of nurture and nature states that the emergence of a construction as well as a social paradigm is determined through the biological type of human that is obtained from birth. Based on this theoretical statement, the author examines the relationship between Ngiggut music which places men as performers of rituals, as well as the relationship between nurture and nature that forms the structure of society so that it has an influence in the aspect of Ngiggut music on Semegah rituals.Keywords: Nginggut music, Semegah ritual, Male
KARYA KOMPOSISI PETEGAK KREASI JEGOG “NGAKIT” I Komang Diki Putra Sentana; Hendra Santosa; Ni Wayan Masyuni Sujayanthi
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol 14, No 2 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v14i2.4148

Abstract

Karya seni musik khususnya musik karawitan tercipta dari ide kreatif para seniman, ide penciptaan sebuah karya dapat muncul dari beberapa fenomena diantaranya fenomena alam, fenomena kehidupan, maupun fenomena musikal. Sebagian besar ide muncul dari fenomena alam dan fenomena kehidupan namun tidak menutup kemungkinan terciptanya suatu karya seni musik karawitan dapat muncul dari fenomena musikal. Hal ini menggugah penulis untuk menciptakan sebuah karya yang bertujuan memfokuskan pada fenomena musikal yang terdapat dalam karya yang berjudul “Ngakit” sehingga dapat memberikan sentuhan kreatifitas dalam musik karawitan. Metode yang digunakan dalam karya ini adalah metode penciptaan oleh I Wayan Beratha yang terdiri dari proses nguping, menahin, dan ngalusin dengan menambahkan metode ngungkap rasa untuk penghayatan pada setiap bagian lagu. Karya “Ngakit” direalisasikan dengan menggunakan media Gamelan Jegog dengan teknik musikal Kotekan dan teknik khas dari Jegog yaitu teknik Nyelangkit, kedua teknik musikal tersebut diolah sedemikian rupa sehingga membentuk pola musikal baru yang penulis sebut dengan istilah “Ngakit”.
ADAPTASI TEKNIK LINEAR DRUM CHOPS DALAM LAGU YOU ARE GOOD DI SAJIAN LITURGI GBI KELUARGA ALLAH SURAKARTA Christ Haryanta Person; Bondan Aji Manggala
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol 15, No 1 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v15i1.4481

Abstract

The research entitled "Adaptation of the Drum Chops Technique in the Song You Are Good in the Liturgical Serving of GBI Keluarga Allah Surakarta" was proposed by raising the assumption that this phenomenon occurs consciously and is related to many things in religious and cultural life in GBI Keluarga Allah Surakarta. There are two problem formulations, namely; 1) Why was gospel music adapted with drum chops technique in liturgical music at GBI Keluarga Allah Surakarta? 2) How was gospel music adapted and drum chops technique adapted to liturgical music at GBI Keluarga Allah Surakarta? and 3) How is the position of gospel music with drum chops technique in worship at GBI Keluarga Allah? The theory of cross-cultural adaptation is used as the basis for the analysis of this research by applying qualitative methods of field research techniques. The results of this study indicate that the GBI Keluarga Allah consciously accepts the gospel flow and uses Contemporary Christian Music (CCM) as the dominant music style because the concept of using liturgical music in GBI Keluarga Allah is a reference to the popular gospel music genre. The adaptation process that occurs in applying the linear drum chops technique is at least three things, namely simplification, mixing, and complicating the game references that are absorbed by the drummer through social media. The adjustment of the drum chops game is considered sufficient to affect the achievement of the desired atmosphere as in the part of the worship service.

Page 5 of 13 | Total Record : 122

 3   4   5   6   7 

Filter by Year

2019 2025


Reset
Filter By Issues
All Issue Vol. 18 No. 1 (2025): July Vol. 17 No. 2 (2024): December Vol. 17 No. 1 (2024) Vol. 17 No. 1 (2024): July Vol. 16 No. 2 (2023): December Vol. 16 No. 2 (2023) Vol. 16 No. 1 (2023): July Vol. 16 No. 1 (2023) Vol. 15 No. 2 (2022) Vol 15, No 1 (2022) Vol 14, No 1 (2021) Vol 14, No 2 (2021) Vol 13, No 2 (2020) Vol 13, No 1 (2020) Vol 12, No 2 (2019) Vol 12, No 1 (2019) Vol 11, No 2 (2018) Vol 11, No 1 (2018) More Issue