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Department of Drama, Dance and Music, Faculty of Language and Arts, Universitas Negeri Semarang, Indonesia B2 Building, 2nd Floor, Sekaran Gunungpati, Semarang 50229, Central Java, Indonesia
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JSM (Jurnal Seni Musik)
Published by Universitas Negeri Semarang
ISSN : 23014091     EISSN : 25032860     DOI : 10.15294/JSM.V8I1
Core Subject : Art,
Arts
a peer reviewed journal publishing original research and conceptual papers on music, music education, music performance [see Focus and Scope]. It is publishes by Department of Drama, Dance, and Music Education (Sendratasik), Semarang State University (UNNES) two time a year, June and December, in cooperation with Asosiasi Profesi Pendidik Sendratasik Indonesia (AP2SENI)/The Association of Profession for Indonesian Sendratasik Educators Research, comprises scholarly reports that enhance knowledge regarding art in general, performing art, and art education. This may include articles that report results of quantitative or qualitative research studies. Conceptual Idea, publishes articles conceptually relevant to advancing the practice of music and learning, present theories of music, models, or philosophical position, etc. Articles may draw upon theory/or material developed in educational practice that recognize and address a wide range of pedagogical approach that would interest members from a variety of countries and teaching setting, including activities and art materials to help internationalize art curricula.
Arjuna Subject : Seni dan Humaniora - Seni dan Humaniora (Lain-Lain)
Articles 18 Documents
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Search results for , issue "Vol 12 No 1 (2023): June 2023" : 18 Documents clear
The Performance of Killer of Gods Band in Semarang
Jurnal Seni Musik Vol 12 No 1 (2023): June 2023
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jsm.v12i1.68029

Abstract

Killer of Gods, also known as KOG, has participated in events such as Rockin Solo and Jakarta. The performance style of KOG has successfully created an energetic atmosphere on stage, and captivated the audience with the use of dynamic lighting to enhance the musical experience. This research aimed to explore the performance format of the band Killer of Gods, serving as a reference for musicians and other researchers. The study employed a qualitative method with a phenomenological approach. Data collection was conducted through observation, interviews, and documentation. Data validity was ensured through triangulation. The data analysis process involved data collection, data reduction, data presentation, and drawing conclusions. The performance format of Killer of Gods consists of two aspects, namely composition and presentation. The composition aspect includes rhythm, melody, harmony, instruments, lyrics, arrangement, formation, and performance elements. Meanwhile, the presentation aspect includes stage design, sound system, lighting, makeup, performance timing, and music presentation. In addition, Killer of Gods exclusively performs their own compositions during their music performances.
Bamboo Violin Innovation in Japan Village Kudus Regency
Jurnal Seni Musik Vol 12 No 1 (2023): June 2023
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jsm.v12i1.68111

Abstract

The violin is a common musical instrument constructed of wood, specifically a variety of maple wood. A bamboo violin musical instrument has been created by a woodworker from Kudus Regency's Japan Village. The aim of this study was to discover and describe the innovations used by woodworkers in the production of violins in Japan Village, Kudus Regency, as well as the discovery and description of the production method for bamboo-based violins in Japan Village, Kudus Regency. The research was conducted using a case study research design and a qualitative research methodology. Following are the study's findings: 1) Local wood and bamboo, such as petung bamboo, rosewood wood, Dutch teak wood, and wood mahogany, are used as the basic building blocks for violins. Wood craftsmen also incorporate Indonesian wayang carvings and a scroll design with an eagle head and a puppet head that both have symbolic meaning when creating violin designs for their musical instruments.
Adaptation of Assessment Techniques and Procedures of Music Learning Outcomes in The New Normal Era
Jurnal Seni Musik Vol 12 No 1 (2023): June 2023
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jsm.v12i1.68539

Abstract

The change in the Covid-19 pandemic era to the new normal era demands changes in the implementation of learning again. In this regard, this study aims to describe and analyze the adaptation of techniques and procedures for assessing learning outcomes carried out by teachers. The research was conducted with a qualitative descriptive method. Data was obtained through observation, interviews, and document study. The process of checking the validity of the data was done by triangulating data sources. The data analysis technique used descriptive analysis with the stages of data reduction, data presentation, and data verification. The study results show that the implementation of assessments in the Covid-19 pandemic era to the new normal era has changed. During the Covid-19 pandemic and the new normal, the knowledge assessment technique used was the same: the written test. However, the assessment procedures and types of test items were different. During the Covid 19 pandemic, the knowledge questions used were in the form of multiple choice, which was done digitally. Meanwhile, during the new normal, multiple-choice questions and essays were used with digital and manual (written) processing procedures. Skills assessment during the Covid-19 pandemic was carried out using a performance assessment whose object of observation was in the form of a video recording which was sent to a digital platform. Meanwhile, during the new normal, project evaluation was carried out to know the process and the results of the work which the procedures were carried out directly.
A Symbolic Interaction in The Teaching of Gambang Semarang Music at School
Jurnal Seni Musik Vol 12 No 1 (2023): June 2023
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jsm.v12i1.68876

Abstract

This study aims to provide a comprehensive description of the forms of symbolic interaction in the learning process of Semarang Gambang Music. The concept and theory of Symbolic Interaction belonging to George Herbert Mead (1934, 1938) which views the way of thinking about the mind (mind), self (self) and society (society) is used to examine the implementation of the learning process of Gambang Semarang Music. By using a qualitative approach, the data were obtained through the use of literature study techniques, observations, interviews, and document studies. Then some of the data that has been obtained is analyzed using steps according to Miles and Huberman's theory, namely analyzing data in three steps: 1) Data condensation, presenting data (data display), and drawing conclusions or verification (conclusion drawing and verification) ). Data condensation refers to the process of selecting, focusing, simplifying, abstracting, and transforming data. The results of the study show that symbolic interaction in learning Gambang Semarang Music occurs during the learning process. The forms of symbolic interaction between the teacher and the students are first, the teacher gives a signal (one, two, three, four) when leading the students to play the Semarang gambang musical instruments and sing songs together, and secondly, the teacher guides and guides them. students in reading sheet music notation prepared in the learning process
Takut, Bertaut, and Runtuh: Analizing the Authenticity of Autobiographical Lyrics and Their Relation With Youth Reception
Jurnal Seni Musik Vol 12 No 1 (2023): June 2023
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jsm.v12i1.68877

Abstract

Previous studies showed that love has become an eternal theme in pop music. But since the early 2000s, new themes with negative sentiments such as pain, despair, fear, and sadness have emerged in pop music. Along with this phenomenon, recent pop music offers poetic lyrics instead of cliché lyrics. What makes them more interesting is, some of the lyrics are autobiographical. This study aims to analyze the originality of autobiographical lyrics and their relation to young listeners’ reception. The researchers use three songs as the research object: Takut by Idgitaf, Bertaut by Nadin Amizah, and Runtuh by Feby Putri and Fiersa Besari. This qualitative research uses the lyrics of those songs and questionnaire results as its data. The questionnaire respondents are young listeners between 18 and 30 years old who live in different villages and cities in Indonesia with various social economic and educational backgrounds. The collected data are analyzed using Fraith and Hoggarts’ thoughts. Analysis of the works of Idgitaf, Nadin Amizah, Feby Putri, and Fiersa Besari shows that all of them have distinct and unique songwriting skills. They also show consistency in choosing the theme song, including the three songs used as research objects. Out of 64 respondents, 56.3% claim that knowing a song is an autobiographical work does not change their opinion and feelings toward the song. However, the result of the questionnaire shows that young listeners feel connected to song lyrics that represent their feelings.
Semiotic Dimension Deconstruction in the First Movement of "Spring" by Vivaldi
Jurnal Seni Musik Vol 12 No 1 (2023): June 2023
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jsm.v12i1.69540

Abstract

Music is a means of expressing feelings and aesthetics in the human mind and heart. Through increasing human creativity, this media for expression comes in many types, one of which is program music, whose compositional construction is based on the composer's imagination to describe a character, atmosphere, or an event. Allegro of “Concerto No. 1 in E major, Op. 8, RV 269: Spring (La primavera)”, as the first movement of the program music The Four Seasons from Vivaldi, is famous for depicting the atmosphere of spring filled with birdsong, the wind blowing, to the sound of the river flowing. Therefore, this study intents to thoroughly examine those representations of this atmosphere through the deconstruction of the semiotic dimension. As an inductive qualitative research, Peirce's semiotic theory and the descriptive analysis data method are applied. Based on Peirce's semiotic theory, the description of the spring atmosphere is present in interpretant through the imitation of bird sounds, river flow, and storms; harmonic progressions, melodic motifs, musical technique ornaments, and collective structures in objects; as well as sonnets in representamen. Thus, it can be summarized that the illustration of the atmosphere in the title and sonnet is closely related to the music notation, meaning they are inseparable. In the past few years, an akin exploration that focuses on Vivaldi's works through the semiotic perspective was absent; hence, this study plays a huge part in its research contribution to the field of knowledge.
Audience Reception Analysis on the Phenomenon of ‘Nonsense’ Lyrical Meaning of Asmalibrasi by Soegi Bornean
Jurnal Seni Musik Vol 12 No 1 (2023): June 2023
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jsm.v12i1.69893

Abstract

This article discusses the prevailing debate regarding the phenomenon of ‘nonsense’ lyrical meaning of Asmalibrasi, a song released in 2020 by Soegi Bornean, in the scope of audience reception analysis. The analysis focuses on how the audiences interpret the process of meaning making and how they perceive the aesthetic of the song amidts the backlash to its lyrical meaning which is deemed as meaningless and nonsense. This research used qualitative approach and collected the data through semi-structured interview and virtual observation. The data are the combination of primary data collected from semi-structured interview and virtual observation on twitter and secondary data gathered from online news and online articles. The discussion of the audience’s reception is based on encoding and decoding model by Stuart Hall to analyse the audience responses. Furthermore, the overall findings were synthesized and analysed according to the concept of characteristic and aesthetic of postmodern artworks, music, by Jameson. From the study, it is shown that the aesthetic of the song Asmalibrasi is not predefined and subject to fixed perception. It is rather more varied according to the listener’s individual perception. Moreover, the song Asmalibrasi maintains its aesthetic through emanating a vibe. The vibe emanated by Asmalibrasi is also what matters for the song to be enjoyed by the listeners. In other words, listeners have their personal perspective and consideration aspects in decoding the meaning which further define how they perceive the aesthetic of the song.
Gitar Tunggal Lampung: Enculturation and Ethnopedagogy in Advancing Formal Music Education
Jurnal Seni Musik Vol 12 No 1 (2023): June 2023
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jsm.v12i1.70097

Abstract

Formal music education often uses systematic teaching methods, a planned curriculum, leveling, organization, and standardized learning stages. From a pedagogical perspective, learning music provides a more imaginative, improvisatory learning structure besides all these standard rules. By capturing the social practice of music in the community, music scholars can enrich their academic experience and ideas about designing informal music learning in the classroom. The gitar tunggal players from Lampung may serve as ideas for those learning music formally. While they lack musical and academic literacy, they also provide useful self-learning concepts. Over the past four years, data for this study were gathered using ethnomusicological methods. Online databases were used in addition to the primary data collected through fieldwork. When designing curricula, music scholars might include the ideas of enculturation and Ethno pedagogy. A useful suggestion for enhancing formal music education is to base instruction on local culture and learn it from vernacular musicians in Lampung.

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