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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 122 Documents
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Etnomusikologi Indonesia: Menyoal Representasi, Menemukan Relevansi Setiyono, Budi
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 15 No. 2 (2022)
Publisher : Institut Seni Indonesia 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.
DAPUR KE PANGGUNG: BENTUK DAN MODA PERTUNJUKAN TALEMPONG GANDANG LASUANG Tri Ananda; Wiwik Sushartami; Aton Rustandi Mulyana
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 16 No. 1 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v16i1.5005

Abstract

Talempong Gandang Lasuang Talempong Gandang Lasuang is one of the Minangkabau women's talempong music ensembles in Sikapak Timur Village, Pariaman City. This art had disappeared in Sikapak in the 1980s and reappeared in 2010 with a different performance space, from the kitchen to the stages of the performing arts realm followed by changes in its formal elements. This study aims to determine changes in the form and mode of TGL performances in the kitchen and on stage. This research is a qualitative research. The results of this study show that, TGL kitchen and stage are performance events with different forms and modes of performance.  As a talempong music ensemble, the change of TGL from the kitchen to the stage is related to six basic elements of music namely transition, style, genre, text, movement and composition. The formal elements are presented in two modes of performance according to the space; kitchen and participatory mode which contains the idea of play; stage and presentational mode which contains the idea of display.
KREATIVITAS SANDI SUNAN KENDANG DALAM PERTUNJUKAN DANGDUT KOPLO DI BANYUWANGI Gigih Among Buwono; Wahyu Purnomo
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 16 No. 1 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v16i1.5052

Abstract

Creativity of Sandi Sunan Kendang in Dangdut Koplo Performances in Banyuwangi discusses the phenomenon of a drum musician whose real name is Sandi Pratama who is usually called Sandi Sunan Kendang. He is one of the drum musicians who popularized the Banyuwangian style of dangdut koplo music in East Java. In essence, this article discusses Sandi Sunan Kendang's activities related to his life background in the development of Dangdut Koplo with Banyuwangi nuances. Sandi Sunan Kendang comes from a family of artists, he departed from a traditional artist to enter the world of dangdut koplo. As a special dangdut koplo musician as a drum player, he includes Banyuwangian drum patterns such as Kuntulan with the aim that drum musicians and young people can learn about regional culture, especially Banyuwangi. Keywords: Sandi Sunan Kendang, dangdut koplo, creativity
ANSAMBEL TOKTAK: PEMANFAATAN LIMBAH INSTRUMEN ANGKLUNG LEWAT PROSES RECYCLE DI INSTITUT SENI BUDAYA INDONESIA (ISBI) BANDUNG Moch Gigin Ginanjar; Ega Fausta; Hinhin Agung Daryana
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 16 No. 1 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v16i1.5081

Abstract

Dalam konteks tradisi budaya Sunda, bambu merupakan salah satu jenis bahan tumbuhan yang memiliki banyak fungsi, salah satunya sebagai bahan utama pembuatan alat musik angklung. Meski dikenal sebagai bahan yang murah dan mudah ditemukan di wilayah Sunda, namun karakteristik bahan bambu yang cenderung tidak tahan lama menimbulkan berbagai kondisi yang bermasalah. Eksistensi seni angklung yang terus berkembang hingga saat ini karena berbagai inovasi yang dilakukan seniman menyisakan persoalan. Di lingkungan pendidikan formal ISBI Bandung yang memiliki prodi Angklung dan Musik Bambu, pemborosan alat musik angklung masih menjadi masalah serius. Tulisan ini akan menjelaskan secara detail tentang pemanfaatan alat musik angklung bekas melalui proses daur ulang untuk menghasilkan ansambel baru yang disebut ansambel Toktak.
PINK NOISE SEBAGAI GUIDE DALAM MIXING Dyah Murwaningrum; R. Adhitya Indrayuana
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 16 No. 1 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v16i1.5086

Abstract

Pink noise adalah noise yang memiliki intensitas bunyi sama kuatnya pada tiap oktaf. Populernya pink noise sebagai bunyi yang ramah di telinga manusia juga telah didukung oleh beberapa riset psikologi dan neuroscience. Kecenderungan intensitas bunyi dan frekuensi dalam pink noise searah dengan teori Fletcher Munson yang merupakan kecenderungan dari pendengaran manusia secara umum.Penelitian ini berusaha untuk menginformasikan bahwa pink noise dapat digunakan sebagai pendekatan mixing secara visual, agar mixing menjadi semakin detail dan efisien. Metode yang digunakan pada penelitian ini adalah kuantitatif-kualitatif. Beberapa lagu K-pop dipilih sebagai sample untuk mengecek kecenderungan spektrum lagu dan keidentikannya terhadap spektrum pink noise. Alat penelitian menggunakan software Studio one 5 dan plug in spektrum meter. Selanjutnya proses tersebut akan dianalisa untuk mendapatkan kelemahan dan kelebihan pink noise saat dijadikan sebagai pendekatan dalam mixing. Hasil penelitian ini adalah ditemukannya bukti bahwa pink noise memiliki keidentikan pada lagu-lagu korea yang mendunia. Dan hasil penelitian ini diharapkan dapat menjadi metode atau pendekatan mixing atau setidaknya pendekatan pada fase pra mixing dalam produksi audio.
METODE TRANSMISI GONG KEBYAR PADA KOMUNITAS KARAWITAN BALI DI SURAKARTA Riza Alif Aulia; I Nengah Mulyana
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 16 No. 1 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v16i1.5223

Abstract

Gong Kebyar is one of the most popular gamelan ensembles from Bali. The distribution of Gong Kebyar is almost spread throughout the archipelago and even the world. One of them is in the city of Surakarta, which is rich and thick with Javanese culture and art. The rich and thick Javanese culture in Surakarta does not prevent Gong Kebyar from being able to grow and develop in this city. The transmission practice has been going on since the first time Gong Kebyar arrived in Surakarta until now. Groups or communities of Gong Kebyar took turns forming. Uniquely, the transmission practice is carried out to people who do not have a Balinese cultural background, in this case the majority are Javanese. Using the lens of traditional music transmission theory from Irawati which mentions three main elements in transmission practices namely actors, content, and mechanisms, this study aims to reveal the methods used by Gong Kebyar teachers in Surakarta in transmitting their knowledge to students from different backgrounds.
BENTUK DAN FUNGSI ENDE MANDIDENG PADA MASYARAKAT DESA KAMPUNG BARU KABUPATEN MANDAILING NATAL SUMATERA UTARA Mangunsong, Melani Eklesia; Manggala, Bondan Aji
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 16 No. 2 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v16i2.5236

Abstract

The article “The Form and Function of Ende Mandideng in the Community of Kampung Baru Village,Mandailing Natal Regency, North Sumatra”, is a presentation of a study to answer two problems, (1) what is the form of Mandideng singing in the community of Kampung Baru Village, North Panyabungan District, Mandailing Natal Regency, Province North Sumatra, and (2) how the Mandideng song functions in the culture of the people of Kampung Baru Village. The research in this article applies qualitative research methods using field research methods under the umbrella of Budilinggono and Alan’s theory. P. Merriam about the form of serving as well as function and uses. According to Budilinggono, the presentation form analyzes melodic phrases in songs and song structures related to rhythmic, melodic and time signature motifs. According to Merriam, an analysis of use and function includes a discussion of how music is used in human activities and the reasons why music is used. The results of the research in this article state that Ende Mandideng, in content analysis, reveals the concept of moral instillation in children. In terms of its function, Ende Mandideng has five functions, namely: (1) emotional expression function, functioned to express the parents’ love for their children when putting the child to sleep, (2) entertainment function, functioned as a reliever of parents’ boredom from their daily activities, ( 3) communication function, functions as a means of conveying messages through songs sung by parents to their children, (4) function of strengthening adjustment to social norms, this function can explain that Mandideng songs have the power to instill the child’s mindset. children from childhood in accordance with applicable social norms, especially regarding social norms related to the relationship between children and parents, (5) the function of preserving and stabilizing culture, functioning as the preservation of folk songs which are currently almost being displaced by developments over time.
PERAN PUSAT PELATIHAN SENI BUDAYA (PPSB) JAKARTA SELATAN DALAM REPRODUKSI KESENIAN GAMBANG KROMONG Suseno, Dava Widyanti; Mulyana, Aton Rustandi
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 16 No. 2 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v16i2.5266

Abstract

Along with the development of the capital city, the Betawi people and their culture have faced various challenges related to their identity and existence as “natives”. This condition has had a lot of influence on the condition where traditional arts are no longer alive and developing, one of which is Gambang Kromong. The Provincial Government of DKI Jakarta with various other interests, then carried out cultural preservation through the Cultural Arts Training Center (PPSB). This study describes how the Gambang Kromong Training Program is organized by PPSB, through the ethnographic method which has been carried out since 2018, then by data collection techniques through observation, interviews, and literature review related to the research object. The results of the collected data are then analyzed through the perspective of the theory of cultural reproduction and the theory of hegemony. The PPSB Gambang Kromong Training Program in the 2016-2019 period has succeeded in forming an ideal cultural reproduction system. The stages of the program cover quite a lot of aspects and various factors that also support a cultural reproduction effort, especially for the Gambang Kromong traditional arts in DKI Jakarta. Unfortunately this program had to stop due to policies that forced restructuring. The role of PPSB, which is part of a political society, unfortunately has to lose in the hegemony game of the institution above it, and this also has an impact on civil society which includes art galleries, schools, traditional arts practitioners, and the Betawi community in general. Policies that show the government’s inconsistency in carrying out the preservation and reproduction of culture, eventually add to the question in terms of cultural programs to the interests of the institution alone.
KIDUNG PARI: EKSPRESI KEARIFAN LOKAL PEREMPUAN RURAL JAWA UNTUK KINI DAN NANTI Fatimah, Mutiara Dewi
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 16 No. 2 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v16i2.5470

Abstract

The concept of the Kidung Pari work broadly draws inspiration from the role of rural Javanese women in farming activities, starting from pre-production, farming production, post-production, to activities outside the agricultural space, such as ngliwet or cooking rice. By drawing inspiration from each detail of these activities, positive values about the attitudes and roles of Javanese women in their social environment will become apparent. Although women’s roles in these activities may appear as “rough labor,” their involvement is significant in almost every stage of farming, from the rice fields to the kitchen. Through the composition of the Kidung Pari music, it will reveal another aspect of women, who are generally known for being gentle, beautiful, emotional, and nurturing. This community empowerment project through the arts is an effort to explore the intrinsic values and local knowledge possessed by the residents, as well as the development of existing traditional art potential as a means of preservation, education, and promotion of the region’s untapped potential. The activities to be carried out in this program include collaborative practices in visual arts and performing arts, including training in Karawitan for the mothers of the Tani Makmur group in Tawangrejo Village, and the results of this training will be showcased. The Kidung Pari work is an endeavor to immortalize the story of rural Javanese women in history, culture, society, worldview, and self-reflection in Javanese society. Through the Kidung Pari work, Indonesia needs to explore and develop new values to elevate the status of rural Javanese women, making them more superior, resilient, and empowered in the present and future.
TRANSFORMASI KESENIAN POJHIÂN KE DALAM PENCIPTAAN KOMPOSISI MUSIK TRADISI INOVASI BERBASIS LOKAL WISDOM Sugmatimur, Yuddan Fijar; Widianto, Suwandi
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 16 No. 2 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v16i2.5480

Abstract

The transformation of Pojian art into the creation of innovative music compositions can be an alternative to regenerate the existance of Pojhian art actors. This effort is to maintain the existence of Pojhian art in the midst of the onslaught of increasingly sophisticated technology, so that it can stimulate the attractiveness of the millennial generation to be proud and take part in the Pojian art which is full of noble values. The purpose of this research is to find out the extent to which the potential of the performance form and song material in Pojian can be exposed to be fresher through the novelty of original musical works. The method used in this research consists of 2 stages, namely; conceptual stage and operational stage. The conceptual stage con- sists of determining objectives, determining musical themes, gathering information, analyzing information, determining instruments, melodies and determining artistic design. The operational stage includes music exploration, notation modification, arrangement variation, music composition, song verse writing, notation writing, artistic design selection and artistic research. There are 3 types of data in this research that are used as measuring instruments, namely; validity, originality of artwork, and novelty. The test subjects in this study were two validators, namely validators of traditional art preservationists to measure the suitability of the appli- cation of the Pojhiân art presentation structure contained in the Gâdhisa ritual and validators of music experts (composers) to measure the originality of the work, and the novelty of the music composition presented.

Page 7 of 13 | Total Record : 122

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