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Jurnal Sendratasik

sendratasik
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Published by Universitas Negeri Padang

ISSN : - EISSN : 23023201 DOI : 10.24036

Core Subject : Science, Education, Art, Social,

Arts Education Languange, Linguistic, Communication & Media Materials Science & Nanotechnology Social Sciences

Jurnal Sendratasik diterbitkan 4 (empat) kali pada bulan S Maret, Juni, September, dan December denganmemuat artikel / artikel penelitian di bidang musik, tari, dan drama serta pembelajarannya. Memuat teks yang dihasilkan oleh kelompok penyunting, naskah yang digunakan adalah naskah yang lolos dan tidak pernah / tidak akan pindah ke jurnal lain. Jurnal Sendratasik menerima naskah yang memberikan wawasan tentang isu-isu terkini, dan terutama berhubungan dengan studi Seni Pertunjukan dan Pembelajarannya(Seni Drama, Tari dan Musik) dengan menyebar luaskan pengetahuan di bidang-bidang yang muncul dan berkembang. Hasil riset, terdiri dari laporan ilmiah yang meningkatkan pengetahuan tentang seni secara umum, seni pertunjukan, dan pendidikan seni. Baik dalam bentuk artikel yang melaporkan hasil studi penelitian kuantitatif atau kualitatif. Artikel secara konseptual harus relevan untuk memajukan Seni Pertunjukan dan Pembelajarannya, menyajikan teori tentang seni, model, posisi filosofis, dll. Artikel juga dapat mengacu pada teori-teori ataupun materi- materi yang dikembangkan dalam praktik dan pendidikan seni pertunjukan. Bahasa naskah yang dikirimkan dalam bahasa Indonesia. Harus membahas tentang masalah serta kontribusi baru yang signifikan untuk bidang praktik dan pendidikan seni pertunjukan. Artikel dapat berasal dari salah satu bidang berikut: - Drama - Tari - Musik dan / atau Musik Tradisional - dan Pembelajarannya

Arjuna Subject : Seni dan Humaniora - Seni Visual dan Seni Pertunjukan

Articles 820 Documents

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PEMBELAJARAN NOTASI BALOK MELALUI METODE DRILL DI SMP NEGERI 1 SUNGAI SARIAK KABUPATEN PADANGPARIAMAN Arneti Arneti; Jagar Lumban Toruan; Syeilendra Syeilendra
SENDRATASIK UNP Vol 2, No 3 (2013): Seri B
Publisher : FBS Universitas Negeri Padang

Abstract This research aimed at describing the learning of musical notations through drilling, in the Art and Culture subject at SMP Negeri I Kabupaten Padang Pariaman. The learning of musical notations was not fully enjoyed by the students. They assumed that this learning material was difficult to understand and not really important for them. In fact, this learning material improved their ability when they later had musical, vocal. and instrumental practices. The teacher then found some solutions to solve this problem: I) explaining the form and the value of notes to the students such as about the symbol and the duration of full notes, half notes, quarter notes, and eighth notes: 2) explaining and providing examples or beats to the students such as quarter beats or eighth heats: 3) explaining the relationship of time signature (in meters) and heats such as second, third. and fourth meter: 4) explaining the differences of low and up beats and providing examples on how to read the first, second, third, and fourth notes: 5) explaining, and providing examples of units or groups of note: 6) providing examples of' rhythm patterns from the song that was taught to the students as welI as providing examples of rhythm patterns for each phrase of the song. Keywords: Learning, Musical Notations, the Drilling Method

ANALISIS LAGU PETANG LAH PETANG Deta Liandra; Jagar L. Toruan; Yensharti Yensharti
SENDRATASIK UNP Vol 5, No 1 (2016)
Publisher : FBS Universitas Negeri Padang

This article is aimed at analyzing the song Petang Lah Petang based on the song structure and melody composition. This is a qualitative research that uses the conten analysis approach. The theory used to analyze the song is the melodic structure, melodic composition and song structure theory. Data collection was done through recording, library research and laboratory work ( analysis process). The result of the analysis shows that the song Petang Lah Petang belongs to the category of song which have two musical phrases of AB such as pharases a, a1 (antecedent) and b, b1, b2 (consequents). It was also found that the song has seven types of motives (m, n, o, m1, n1, o1,o2), the chords of the song consists of basic chord such as chords I, IV and V. it also as one type of cadence (perfect authentic cadence). The length of the phrases is different or also khown as contrasting phrase. The melodic formulation of the song consists of both disjunction and conjunction. Looking at the melodies and lyrics of the song, it can be concluded that Petang Lah Petang belongs to the group of songs called logogenic or songs whose lyrics dominate the melodies. In other words, this song is not perfect because it only emphasizes on the use of one type of form or also khow as syllabic song. Having analyzed the lyrics of this song and their link with the direction of melody, it is found that the song is a reflection of the tradition of ‘take and give’ – from the community, to the community. Some of the lyrics of the song contain orders and good advice (a reflection of life in the Lahat community) to be passed down to the next generation in the community.

TARI TAN BENTAN DI KANAGARIAN SANIANG BAKA KABUPATEN SOLOK Meirita Hardina Sari; Nerosti Nerosti; Darmawati Darmawati
SENDRATASIK UNP Vol 7, No 2 (2018)
Publisher : FBS Universitas Negeri Padang

Abstract This article aimed to describe the form of Tan Bentan Dance in the community of Kanagarian Saniang Baka in Solok Regency. The object of this research was Tan Bentan Dance at Kanagarian Saniang Baka Solok Regency. The techniques of data collefction were conducted by literature study, observation and interviews. Then, there were several steps in analyzing the data, they were grouping data, analyzing data, describing data and making reports. The results of the study showed that Tan Bentan dance was one of the arts and cultures that were still developing in Kanagarian Saniang Baka, Solok Regency. There had been no change in the motion of Tan Bentan Dance from the past to the present and there were many repetitions in each stage. Previously, Puti Bungsu figure was played by men, and now the role of Puti Bungsu was played by women. The floor patterns of Tan Bentan Dance were circles as well as on Randai. Meanwhile, in the third and fifth round there was a slight change in floor pattern. The most floor pattern of Tan Bentan dance was circular. The number of Tan Bentan dancers was three people and one musician, with the characters of Cindua Mato, Lembang Jayo and Puti Bungsu. However, it could be seen from Tan Bentan's Dance that was performed at Marzuki Ismail Park Jakarta that the Puti Bungsu figure was played by male dancer and female dancer that had the creation of dance performances. Keywords: Tan Bentan Dance

Pelaksanaan Pembelajaran Daring Seni Budaya Di SMP Negeri 17 Padang Ayu Nurhasanah; Erfan Erfan
SENDRATASIK UNP Vol 9, No 2 (2020)
Publisher : FBS Universitas Negeri Padang

This study aims to describe online instruction of Culture and Arts especially in Music subject matter in class VII.5 at SMP Negeri 17 Padang. This is a qualitative research using a descriptive analytic approach. The research instrument used was the researcher itself and was assisted by supporting instruments such as writing tools, cameras, and cellphones. The data were collected through literature study, interviews, and documentation.Based on the results of the study, it can be concluded that the implementation ofonline instructionin the subject matter of simple musical instruments in class VII.5 at SMP Negeri 17 Padang is using the Whatsapp Group media recommended by the Principal of SMP Negeri 17 Padang. This is a way to deal with online learning so that learning activities can be continued even though it is conducted in distance. The planning step for learning simple musical instrument is not optimally conducteddue to the fact that the teacher does not create lesson plans for online instruction.The implementation of online learning in the subject matter of simple musical instrumentcontinues to run smoothly even though the learning process faces various obstacles. The learning outcomes of Culture and Arts for grade VIIin the subject matter of simple musical instruments are less effective and less optimal. This is due to the fact that learning activities conducted do not pay attention to standards of preparing online learning materials.

Analisis Soal Ujian Semester Oleh Guru Seni Budaya Di Kelas X SMK Negeri 2 Pariaman Welly Agita Sari; Yos Sudarman; Marzam Marzam
SENDRATASIK UNP Vol 8, No 1 (2019)
Publisher : FBS Universitas Negeri Padang

This study aims to describe the implementation of analysis of examination questions by the cultural arts teachers at Class X of Accounting Department in SMK Negeri 2 Pariaman. This type of study was qualitative research with using descriptive analysis method. The instrument of the study was the researcher and it was assisted by interview note, observation note, and documentation files. The researcher was involved in the research as a participant observer. The types of data were primary and secondary with qualitative data analysis techniques that described the problem. The result of this study indicates that the analysis of examination questions of cultural art (music) done by the teachers of SMK Negeri 2 Pariaman, which have been tested on the final exam in odd semester 2018/2019, shows the results of the existence of categories of questions that are easy, medium and difficult, based on the results of examination of students correct answers which have been recapitulated and summarized. there are six items whose material are not related to the subject, the description of questions are too broad and the questions that the teachers have never been explained in the Indonesian traditional music insight material, then the questions can be removed, replaced or corrected. The results of the analysis of questions.

PERANAN PENARI PEREMPUAN DAN LAKI-LAKI DALAM PERTUNJUKAN TARI TAUH Ahmad Damhuri; Darmawati Darmawati; Indra Yuda
SENDRATASIK UNP Vol 2, No 1 (2013): Seri B
Publisher : FBS Universitas Negeri Padang

Abstract The article aimed at revealing the roles of female and male dancers in Tauh dance. The research used qualitative method. The data was descriptive obtained from observation, interview, and library research. The data was ethnography. The research showed that the role of female dancers was as the ones who were controlled by the male dancers and as the dancing partners. Moreover, the role of male dancers was as the leaders and as the one who controlled during the dancing. Male dancers moved more compared to that done by the female dancers. It indicated that in Tauh dance male dancers dominated more. Although male dancers were more dominant, the role of female dancers was important still. Therefore, in Tauh dance, male and female dancers could not be separated each other. Kata kunci: PenariPerempuan, Penari laki-laki, peran dan tari Tauh.

STUDI DESKRIPSI MUSIKAL KESENIAN LUKAH GILO DIKENAGARIAN GUNUANG BUNGKUAK LUMPO KECAMATAN IV JURAI KABUPATEN PESISIR SELATAN Radhiyah Radhiyah; Jagar Lumban Toruan; Wimbrayardi Wimbrayardi
SENDRATASIK UNP Vol 6, No 1 (2017)
Publisher : FBS Universitas Negeri Padang

AbstractThe research aimed at finding and describing the song of Lukah Gilo intrinsically and exrtrinsically at Kenagarian Gunuang Bungkuak Lumpo Kecamatan IV jurai Pesisir Selatan region from the musical feet. This research was qualitative using descriptive approach based on the theory dealing with rhythm, melody, and the structure of the song. The data were derived from the performance of Lukah Gilo in general, transcribed the song and then the data were analyzed. The research shows that the Lukah Gilo is performed occasionally. In the performance there are some poem (andai-andai or mantra) singing accompanied by Rabab Pasisia, Rabana and Tambourine. The song is like a poem consist of eleven stanza, each of the stanza has the motive up to 45, 16 phrases. The pitch which is uses are F, G, A, Bes dan C’ with F= Do. There are five internal: that is Prime Perfect (P1), Second Minor (m2),Second Mayor (M2), Tarts Mayor (M3) anda Kwart Perfect (P4 The structure of the poem Lukah Gilo consists of threeparts A, B dab B.Keywords: Study Of Musical Description, Lukah Gilo Art

PEMBELAJARAN BERNYANYI SECARA UNISONO DI KELAS VII.1 UPT SMPN 1 KOTO XI TARUSAN Veni Apri Sopati; Harisnal Hadi; Wimbrayardi Wimbrayardi
SENDRATASIK UNP Vol 7, No 2 (2018)
Publisher : FBS Universitas Negeri Padang

Abstract This article aims to describe the singing learning of Unisono in UPT SMP N 1 Koto XI Tarusan. The type of this study is qualitative with descriptive approach. The location of the study is in UPT SMP N 1 Koto XI Tarusan. Technique of collecting data is done by using observation, interview and documentation. Technique of data analisis consist of 1) data reduction, 2) data presentation and 3) drawing a conclusion. Result of the study explains that the singing learning of Unisono is done by using three steps; they are planning, implementation and evaluation. In planning step, teachers prepare learning device that are the learning implementation plan and the learning syllabus. In implementation step, the singing learning of Unisono is done in four meetings with preliminary activity, main activity and closing activity. Evaluation step is done to measure the success of students in singing learning of Unisono by doing research on the criteria of research, namely intonation, articulation, rhythm and compactness. Keywords: Singing, Unisono

Jembatan Merah Angga Putra Satria Amin; Irdhan Epria Darma Putra
SENDRATASIK UNP Vol 9, No 4 (2020)
Publisher : FBS Universitas Negeri Padang

The song of the red bridge is a national anthem created by Gesang that contains the story of farewell in the fire of struggle. The purpose of this work is to create works in the form of school music arrangements. In this work the arranger worked on a red bridge song in the form of school music, then combined it with a touch of combo band from several musical components in the middle, thus forming a new arransemen to show. The nuances of the arrangement will later transform the emotions of hope and anticipation into something joyous, reinforced by the progress of jazz chords and combined with the pattern of ska music. This work of "Red Bridge" is a self-expression of the author with a form manifested into three plot sections, based on the development of the song "Red Bridge" as well as brass session patterns, which are appeared in a series of ritems and sentences using composition techniques used as binding of this work.

UPAYA PENGGALAKAN RANDAI DAN NAGARI AMPU Rahmat Hidayat; Indrayuda Indrayuda; Syahrel Syahrel
SENDRATASIK UNP Vol 2, No 1 (2013): Seri E
Publisher : FBS Universitas Negeri Padang

Abstract This research was aimed at revealing and explaining the efforts done by the Randai activators to perpetuate Randai in Nagari Ampu. This was a qualitative research which used descriptive method. The data was gotten through observation and interview, and then it was analyzed by using spradley approach. The result of the research indicated that by involving the local government and wali Nagari on the perpetual efforts, Randai was successfully reactivated in Nagari Ampu. The effort done were through qualitative and quantitative development and included Randai as one of the extracurricular activities at school. Kata kunci: Penari Perempuan, Penarilaki-laki, perandan tari Tauh.

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Hengki Armez Hidayat

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Home Page

OAI Link

Editorial Team

Contact

Reviewer

Google Scholar

Contact Name Hengki Armez Hidayat

Contact Email hengkiarmez@fbs.unp.ac.id

Phone +6281363124849

Journal Mail Official sendratasikfbsunp21@gmail.com

Editorial Address Jurusan Sendratasik FBS Universitas Negeri Padang Jl. Belibis Air Tawar Padang 25171

Location Kota padang, Sumatera barat INDONESIA

Abstract

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Abstract

Contact Name
Hengki Armez Hidayat

Contact Email
hengkiarmez@fbs.unp.ac.id

Phone
+6281363124849

Journal Mail Official
sendratasikfbsunp21@gmail.com

Editorial Address
Jurusan Sendratasik FBS Universitas Negeri Padang Jl. Belibis Air Tawar Padang 25171

Location
Kota padang,

Sumatera barat

INDONESIA