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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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KELOMPOK MUSIK CV. BINTANG GRUP: MEDIA MERAWAT IDENTITAS ADAT BATAK MELALUI MUSIK DI SOLO RAYA Barasa, Zepanya Saputra; Setiawan, Aris
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 17 No. 1 (2024)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v17i1.6158

Abstract

Migration is an activity that has become a tradition for the Batak people. The migration destinations extend beyond the island, one of which is in the Solo Raya area. The identity of the Batak community remains preserved during migration because their original customs and culture continue to be an integral part of their daily lives. The purpose of this journal is to explore the cultural life of the Batak community and the steps they have taken to preserve their traditional identity through music, specifically through CV. Bintang Group. The research method used in this journal is qualitative, collecting data through observation, interviews, literature studies, and several other methods. The findings indicate that the Batak community, represented by CV. Bintang Group, has successfully preserved their traditional identity through various means. These include teaching Batak music to their children, participat ing in cultural events outside of traditional Batak ceremonies, possessing a complete set of traditional Batak instruments, and being active on social media. The conclusion of this research is that the Batakcommunity has successfully maintained their traditional identity even while living in distant lands.
NEGOSIASI MUSIKAL DAN SOSIO-KULTURAL PADA KESENIAN GANJURAN DI PURA WISNU SAKTI KLATEN Supriyadi; Setiyono, Budi
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 17 No. 1 (2024)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v17i1.6240

Abstract

Ganjuran is a type of music that is a mixture of two types of music, namely Jathilan and Baleganjur music. This assimilation began with an identity polemic between Javanese and Balinese musicality which was felt by most Hindus in Klaten. The polemic turned out to be prolonged, until finally Pemuda Pura Wisnu Sakti offered a solution to blend the two musicalities. In carrying out assimilation, Pemuda Pura Wisnu Sakti apparently carried out musical and socio-cultural negotiations with various elements to find an ideal. Next, to describe the negotiations, Yuniawan’s negotiation strategy theory was used. The method used in this research is qualitative, descriptive analytic in nature. As a result, it was identified that there were musical negotiations which included instruments and playing patterns as well as socio-cultural negotiations which included identity, satisfaction of players and listeners, and suitability of musicality with worship. These results show that music can be used as a tool to maintain identity in a friendly way.
KREATIVITAS SENGGAKAN CENDOL DAWET OLEH KELOMPOK MUSIK DANGDUT MG86 Tantri, Dewi; Gendra Nata Utami, Fawarti
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 17 No. 2 (2024): December
Publisher : Institut Seni Indonesia (ISI) Surakarta

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Abstract

The research entitled “CREATIVITY SENGGAKAN CENDOL DAWET BY MG86 music group” was moti vated by the problem of the uniqueness of the musical text Cendol Dawet, the text is an insert used to fill in one part of the melody of a song. Cendol dawet is a song phenomenon in songs. From this uniqueness, Cendol Dawet is popular in the community. This study aims to find out how the process of forming Senggakan Cendol Dawet, The presentation structure and influence resulting from the crush by the members of the Gila 86 Music group that can build the group to become popular.This research uses the theory of “creativity” from Rhodes in Utami Munandar’s book, namely in creating a creativity is always supported by person, process, perss, product. There are two stages of creativity formulation found in this study, where “senggakan cendol dawet” as a product of creativity formulation by the initiator transforms and is treated as a person in the next formulation of creativity. The formulation of creativity in the second stage produces products in the form of the impact of popularity, management, and move ment that overshadow the identity of the music group and its glory.Qualitative methods are used to obtain field data. Based on the results of the study, it can be concluded that Senggakan Cendol Dawet presents a hope in creating senggakan does not have to use the word riot which connotes pornography which serves to advance the image of dangdut music so that it can be loved and enjoyed by the commu nity. In addition, the role of Senggakan Cendol Dawet can liven up the atmosphere of the stage during performances and provide social life changes for members of the Gila 86 Music group.
A JOURNEY WITHOUT A MAP: CHALLENGES AND STRATEGIES FOR INDIE MUSIC TO CROSS NATIONAL MARKETS Aryandari, Citra; Hendrawan, Danu
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 17 No. 2 (2024): December
Publisher : Institut Seni Indonesia (ISI) Surakarta

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Abstract

Indie or independent music is created and distributed independently without the intervention of major record labels. The development of the internet and digital platforms provides opportunities for indie musicians to disseminate their work, but they still face difficulties in distribution and promotion to penetrate the national music market. This research aims to identify the barriers to digital distribution and promotion faced by local indie bands and find effective digital distribution and promotion strategies to penetrate the national market. The method used is in-depth interviews with indie musicians, independent label owners, music aggregators, and support staff involved in digital distribution. Qualitative data from the interviews will be analyzed to find themes, answer patterns, and explain respondents' perspectives comprehensively. The results of this research are expected to provide an in-depth understanding of the distribution and promotion problems faced by indie bands and formulate solutions in the form of appropriate strategies to expand their market reach to the national level and increase their visibility and popularity.
PENGGUNAAN DAN FUNGSI LAGU DODA IDI (STUDI KASUS: SAFIRA AMALIA 41 PROJECT OFFICIAL BIREUEN ACEH) Eka Karina, Angga; Bagus Gede Surya Peradantha, Ida; Setiaji, Denis
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 17 No. 2 (2024): December
Publisher : Institut Seni Indonesia (ISI) Surakarta

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Abstract

Aceh memiliki lagu pengantar tidur yang disebut dengan doda idi. Doda idi biasanya dinyanyikan oleh seorang ibu untuk membuat anaknya tertidur lelap. Tradisi menyanyikan doda idi ini sudah mulai bergeser sejalan dengan perkembangan zaman. Artikel ini bertujuan menjelaskan bagaimana penggunaan dan fungsi lagu doda idi studi kasus Safira Amalia 41 Project Official. Penelitian ini menggunakan metode kualitatif dengan pendekatan studi kasus. Pengumpulan data dihasilkan dari observasi langsung ke studio 41 Project Official, dokumentasi rekaman audio-visual, dan wawancara mendalam kepada penyanyi, komposer, team artistik dan informan eksternal. Analisis lagu doda idi menggunakan pendekatan use and fungtion Alan P. Meriam. Hasil penelitian ini adalah lagu doda idi memiliki kegunaan sebagai pertunjukan budaya dalam konteks menidurkan anak, konteks pembelajaran seni budaya di sekolah-sekolah, dan konteks tradisi turun tanah anak (peutren aneuk). Adapun lima fungsi lagu doda idi yaitu: (1) fungsi penghayatan estetis yang memperkuat hubungan batin seorang ibu dan anaknya; (2) fungsi hiburan kepada pelantun dan penikmat; (3) fungsi komunikasi yang menyampaikan pesan moral dan membangkitkan semangat patriotik generasi muda; (4) fungsi memperkuat norma-norma sosial yang sejalan dengan Qanun Syari’at Islam; (5) fungsi pelestarian dan stabilitas kebudayaan Aceh yang disajikan dalam tradisi peutren aneuk dan konten youtube 41 Project Official.
GERAK SINKRON: PERAN GERAK DAN MUSIK BAGI HUBUNGAN INTERPERSONAL ANAK USIA DINI Yuda Oktadus, Henry; F.A. Yaqin, Ahmad
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 17 No. 2 (2024): December
Publisher : Institut Seni Indonesia (ISI) Surakarta

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Abstract

Musical activities are often said to promote positive social experiences; however, certain conditions can hinder the success of children's social interactions during these activities. For instance, overly challenging musical tasks, unresolved interpersonal conflicts, and high levels of competition in group music settings may introduce pressures that inhibit collaboration and social engagement. Therefore, it is essential to investigate the factors that are crucial for fostering successful social dynamics in children's group musical activities. This article aims to explore how movement elements can influence the social interactions within these group settings. Hove and Risen's (2009) concept of interpersonal synchronization is employed to explain how feelings of safety and enjoyment emerge during movement-based music activities. This framework aligns with Hirschi's (1969) model, which outlines the prerequisites for forming social bonds in collective activities. Qualitative data were collected at Hanacaraka Edukids Montessori School Kindergarten in Yogyakarta through semi-structured interviews with three teachers and sixteen of the thirty-two participating children. The data were then analyzed using Schreier's (2014) content analysis procedures. The findings suggest that incorporating movement into group music activities can enhance children's positive mood, which, in turn, fosters positive interactions and strengthens friendships within the group. Keywords: music and movement, early childhood, interpersonal relationship
KREATIVITAS SENGGAKAN CENDOL DAWET OLEH KELOMPOK MUSIK DANGDUT MG86 Tantri, Dewi; Gendra Nata Utami, Fawarti
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 17 No. 2 (2024): December
Publisher : Institut Seni Indonesia (ISI) Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v17i2.5172

Abstract

The research entitled “CREATIVITY SENGGAKAN CENDOL DAWET BY MG86 music group” was moti vated by the problem of the uniqueness of the musical text Cendol Dawet, the text is an insert used to fill in one part of the melody of a song. Cendol dawet is a song phenomenon in songs. From this uniqueness, Cendol Dawet is popular in the community. This study aims to find out how the process of forming Senggakan Cendol Dawet, The presentation structure and influence resulting from the crush by the members of the Gila 86 Music group that can build the group to become popular.This research uses the theory of “creativity” from Rhodes in Utami Munandar’s book, namely in creating a creativity is always supported by person, process, perss, product. There are two stages of creativity formulation found in this study, where “senggakan cendol dawet” as a product of creativity formulation by the initiator transforms and is treated as a person in the next formulation of creativity. The formulation of creativity in the second stage produces products in the form of the impact of popularity, management, and move ment that overshadow the identity of the music group and its glory.Qualitative methods are used to obtain field data. Based on the results of the study, it can be concluded that Senggakan Cendol Dawet presents a hope in creating senggakan does not have to use the word riot which connotes pornography which serves to advance the image of dangdut music so that it can be loved and enjoyed by the commu nity. In addition, the role of Senggakan Cendol Dawet can liven up the atmosphere of the stage during performances and provide social life changes for members of the Gila 86 Music group.
APROPRIASI MUSIK KELOMPOK REBANA KASUKA NADA Nuuriyah Tarjono, Siti; Kuwat; Yanuar, Dani
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 17 No. 1 (2024): July
Publisher : Institut Seni Indonesia (ISI) Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v17i1.5293

Abstract

This research discusses the reasons related to the thoughts of the Kasuka Nada tambourine group in choosing musical appropriation in their performances. Tambourines are mostly dominated by percussion instruments such as flying, but now tambourine music has experienced developments in innovation in terms of music media and song repertoire using adaptations of songs popularized by other singers, and adapting other people's works. This form of tambourine music innovation is called appropriation. The purpose of this study is to describe the process of appropriating music in the Kasuka Nada tambourine group, to describe the factors that influence the Kasuka Nada tambourine group in appropriating, to analyze the musical results of the Kasuka Nada tambourine group's musical appropriation, and to describe how the Kasuka Nada tambourine group performs. . This research was conducted using a qualitative descriptive analysis method, by way of describing the existing facts and then proceed with the analysis. The method used in this study is divided into four stages, namely data collection, data processing, data analysis, and drawing conclusions. The theoretical basis used to dissect this research is the theory of appropriation and performance theory. Based on the data analysis conducted, it was concluded that the purpose of the tambourine group appropriating is to preserve and maintain the continuity of tambourine music. Presenting trending songs and those that are liked by the public and then changing the lyrics to the theme of goodness and commendable teachings which are inserted with prayers are the hallmarks of the Kasuka Nada tambourine group, and there are internal and external factors that influence the Kasuka Nada tambourine group in appropriation of music.
FUNGSI MUSIK KALASON OTO SEBAGAI HIBURAN DALAM BUDAYA TRANSPORTASI MASYARAKAT SUMATRA BARAT Winaldo, Hafiz; Darlenis, Teti
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 17 No. 1 (2024): July
Publisher : Institut Seni Indonesia (ISI) Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v17i1.5533

Abstract

In this research, the author uses the concept of music function from Alan P. Meriam. After understanding the problem of the function of music contained in oto kalason (literally: car horn), from this concept, it can be explained that oto kalason functioned as the only entertainment in West Sumatran society at that time (especially when traveling by bus), both inside traveling by oto-oto (buses) at that time, or in people's daily activities. The horns on public transport buses at that time could play songs, sing, even the profession of being a car horn player was quite promising at that time. This horn sound is what many people have been waiting for, a sound that is loved by many people. This is a genre that has long colored the lives of the people of West Sumatra and the transportation (buses) of that time.
KARYA MUSIK LUNGUN: INTERPRETASI VOKAL ANDUNG BATAK TOBA DALAM KONSEP MUSIK KAMAR Simanjuntak, Yessica Yosia Virginia
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 17 No. 1 (2024): July
Publisher : Institut Seni Indonesia (ISI) Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v17i1.5979

Abstract

Lungun is a musical work inspired by a tradition in the death ceremony of the Toba Batak people, called the andung tradition. Andung is a song of sadness that expresses one's feelings of grief for a loved one. Andung chanting is chanted by a pangandung (poet) using hata andung verses (Toba Batak fine literature) whose content tells the life history of someone who has died. In its current development, the andung tradition has shifted, and many cannot practice it because many younger generations can no longer speak hata andung, and andung singing which have been replacing with spiritual songs. The analysis of the andung tradition revealed distinct characteristics of the andung melody and the presentation of Gondang Sabangunan music for death ceremonies. The creation of the musical work Lungun aims to find out the musical form and its symbolic meaning. The method used is panca sthiti ngawi sani, which consist of five stages: (1) inspiration (ngawirasa), (2) exploration (ngawacak), (3) conception (ngarencana), (4) execution (ngawangun) and (4) production (ngabah). Lungun's musical work incorporates elements such as the Toba Batak scales, processed andung vocals, hata andung poems, rhythm processing, and Gondang Sabangunan playing techniques into chamber music performances. Lungun music has three parts: part I is mula-mula (beginning), part II is andung (vocal singing), and part III is poda (message). The symbolic meaning expressed in Lungun music refers to the values found in the Toba Batak community: the Dalihan Na Tolu Batak philosophy, the five levels of Toba Batak death, and the seven Toba Batak philosophies.

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