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Tamumatra : Jurnal Seni Pertunjukan
Published by Universitas Hamzanwadi
ISSN : -     EISSN : 26217244     DOI : 10.29408/tmmt
Core Subject : Education, Art,
Arts Education
Jurnal TAMUMATRA (e-issn: 2621-7244) mempublikasikan hasil penelitian dan kajian analitis dalam bidang pendidikan seni dan seni pertunjukkan drama, tari, dan musik. TAMUMATRA terbit dua kali setahun yaitu Juni dan Desember
Arjuna Subject : Seni dan Humaniora - Seni dan Humaniora (Lain-Lain)
Articles 98 Documents
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Bentuk Pertunjukan Tari Tradisional Penginang Penampi di Kabupaten Lombok Tengah Nusa Tenggara Barat -, Baiq Larre Ginggit Sekar Wangi; Rapi Renda; I Wayan Kusuma Di Biagi
TAMUMATRA Vol 7 No 1 (2024)
Publisher : Universitas Hamzanwadi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29408/tmmt.v7i1.28000

Abstract

This study aims to explain and analyze the form of the Penginang Penampi dance performance in the process of inheriting traditional dances of the Central Lombok Regency, West Nusa Tenggara. This study uses a qualitative descriptive method with an interdisciplinary approach. Research data with three data collection techniques, namely observation, interviews, and documentation. Data validation is carried out by means of reflection, peer opinion, and rational analysis. The data analysis technique uses data triangulation techniques. The flow of data analysis techniques used is the interactive model analysis flow starting from data collection, data reduction, data presentation and data verification. The results of the study show the following findings: the form of the Penginang Penampi dance performance in Central Lombok Regency, West Nusa Tenggara is the Penginang Penampi dance movement, the main movement is the initial movement, the core movement and the closing movement. The theme of the Penginang Penampi dance includes non-dramatic dance (traditional dance). the accompanying music uses gamelan gendang beleq, the costume uses the Sasak tribe's clothing, namely the "Lambung" shirt, the make-up uses local make-up, the stage design uses a proscenium stage, the lighting uses the main light and the sound system uses a sound system. The conclusion of the research that has been done, the form of the Penginang Penampi dance performance has a distinctive characteristic form, especially in the form of its movements. Therefore, the Penginang Penampi dance needs to be preserved.
PENCIPTAAN KOMPOSISI MISINDHANDHANG BERBASIS BENTUK GENDING DAN SEKAR MACAPAT Sutrisni; -, asep saepudin
TAMUMATRA Vol 7 No 2 (2025): Tamumatra
Publisher : Universitas Hamzanwadi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29408/tmmt.v7i2.27925

Abstract

This writing aims to provide an overview of Misindhandhang's compositional work in the realm of Javanese karawitan tradition. Compositional works can create new works that are different from traditional patterns, especially in the form of gending. The creation method in this composition uses Alma W Hawkins' concept, namely exploration, improvisation, and composition. The arrangement of the source of the work uses Western music techniques and harmonized karawitan. Misindhandhang is a karawitan composition work that is not bound by the form of gending, both gatra and chotomic beating. Misindhandhang is the name of a karawitan composition; this name is an acronym from the word Mi=Mijil, Si=Sinom, and Dhandhang comes from the word Dhandhanggula. All three are the names of pupuh sekar Macapat. These three sekar macapat became the primary material, which was then worked on and processed, and finally, works were produced in a new form. The creation of the composition Misindhandhang is intended to open the perception that traditional arts, especially sekar macapat,  can be worked on, developed and given different variations from the original to adapt to the changing times. Misindhandhang's compositional work takes the theme of the phases of human life from birth to youth and adulthood. This research produces new works in the realm of tradition. This work processes the source of the existing work to be different from the original tradition. This process resulted in a karawitan composition work entitled Misindhandhang, with a vocal karawitan presentation with a new form and melody, unlike the original macapat song.  Although the tune is the same, namely the slendro barrel, after processing, it is worked on based on the technique used by the author, resulting in a slendro barrel song like the nuances of a Chinese song. This research concludes that the Javanese tradition is a source of creativity when creating new works.
TRANSFORMASI SENI JEMBLUNG: STUDI KASUS JEMBLUNG ON THE WAY Alvian Halif Sinatrya; Denis Setiaji
TAMUMATRA Vol 7 No 2 (2025): Tamumatra
Publisher : Universitas Hamzanwadi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29408/tmmt.v7i2.28291

Abstract

"Jemblung On The Way" (JeOTW) operates in the field of wayang, specifically Contemporary Jemblung. The concept presented, including its musical accompaniment, differs from traditional Jemblung, as its performances address current social issues through puppet characters that resonate with young people and are accompanied by contemporary music. This research employs a qualitative method with a phenomenological approach, which aims to gather data from the practitioners objectively and also attempts to present the pure process undertaken by the practitioners to answer the research questions. The theory used in this study is Umar Kayam’s Cultural Transformation Theory as the Grand Theory to address this research. What JeOTW is doing represents an effort to effectively discover the ethical and aesthetic essence of the Jemblung community in this era. The creation of this new form is evidence of a cultural strategy that allows Jemblung art to adapt to the times.
DIALOG MUSIKAL: NEGOSIASI KONGAHYAN PADA RAGAM BENTUK MUSIK OLEH RAJJA RAVIAN ALAMSYAH Nora Putri Sofyan; Habibullah, Reizki
TAMUMATRA Vol 7 No 2 (2025): Tamumatra
Publisher : Universitas Hamzanwadi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29408/tmmt.v7i2.28326

Abstract

This kind of research looks at cultural transformations through the lens of the traditional kobanga. Roughly termed as ‘crossover,’ the kobanga is a type of music where different genres are fused together. The focus is placed on the life of a Lukas Alamsyah Mohan, a young and upcoming musician from the Indonesian Art Institute in Surakarta. In the case of Betawi Culture, the Gambang Kromong art is turned to the stringed instrument Kongahayan. The konga is a traditional Indonesian instrument capable of undergoing changes in musical styles. Versatility is one of the strongest qualities of the konga. It is featured in a variety of modern genres like keroncong, and pop. Further, it incorporates along with and serves as the lead carrier for other instruments. This marks the integration of traditional Betawi into contemporary music Alamsyah's efforts are a testimony of the successful incorporation of various elements from different cultures into the music of Indonesia. This underscores the ability of the islam to act as a bridge between cultures and distinct ways of life. It encompasses the scope of hybrid and modern-day music, as well as the significance of the konga in advancing contemporary music in Indonesia.
TEKNIK PERMAINAN REONG PADA KESENIAN GENDANG BELEQ DI SANGGAR MALIK GIRANG DESA PAOK MOTONG Hafiz, Alwan; Markarma, Muh.Ridwan; Kailani, Ashwan; Zaiful; Sapriadi
TAMUMATRA Vol 7 No 2 (2025): Tamumatra
Publisher : Universitas Hamzanwadi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29408/tmmt.v7i2.28452

Abstract

The purpose of this research is to find out how the technique of playing reong in the traditional music of gendang beleq art. The method used in this research is qualitative method. Data collection techniques using observation, interview and documentation techniques. The data analysis technique starts from data collection, data reduction, data analysis, presentation, and finally drawing conclusions. Based on the results of the research conducted that in the reong game there are several techniques used including the first Ngambak technique. This technique is used to play the basic notes on the reong by pressing or hitting hard using a reong beater. Second, the Slow or Beradeng technique . The Beradeng technique is one of the techniques played in creating dynamic variations, especially in setting the tempo and intensity of sound. and the last technique used is the kotekan or betimbalan technique . Kotekan or in the Sasak language in the beleq drum game is called betimbalan or in music theory it is called an interlocking pattern or a complementary pattern between two players
NEGOSIASI MUSIKAL ORKES KERONCONG FARIES NAFISA NUSANTORO DALAM PERTAUTAN PERKEMBANGAN MUSIK POPULER DANGDUT Ramadhan, Raihan Jelang; Kiswanto
TAMUMATRA Vol 7 No 2 (2025): Tamumatra
Publisher : Universitas Hamzanwadi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29408/tmmt.v7i2.29177

Abstract

This paper aims to uncover and explain the process of adaptation and negotiation of keroncong music amidst the dominance of popular dangdut music culture. This study focuses on the cultural dialectics undertaken by Faries Nafisa Nusantoro and Sanggar Rindu Malam in their efforts to confront the dominance of mainstream music. This research is based on an ethnographic approach conducted through building direct involvement in the midst of the study, supported by techniques such as observation, interviews, documentation, and literature review. This study produces findings in the form of adaptations referring to the marriage (hybridization) between keroncong music and dangdut music, musical negotiations that occur in the development of keroncong music, and its significance in the development of keroncong music in meeting the needs of the music industry in Indonesia. The findings of this research are expected to provide discourse and knowledge that contribute to the preservation and development of keroncong music in Indonesia.
ILLUMINATING THE CLAPPERS: A PRACTICE-LED INQUIRY INTO DING HUAN’S THE LIGHT OF THE MOUNTAIN Huan, Ding; Yap Jin Hin
TAMUMATRA Vol 7 No 2 (2025): Tamumatra
Publisher : Universitas Hamzanwadi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29408/tmmt.v7i2.29326

Abstract

This research examines Ding Huan’s The Light of the Mountain, scrutinizing its amalgamation of traditional Jinqian Clapper performance elements with modern themes. The study analyses the impact of rhythmic patterns, vocal styles, and narrative structure on the storytelling of The Light of the Mountain, which depicts the commitment and resilience of a volunteer teacher in rural China. This study utilizes a practice-led research methodology to critically examine Ding Huan’s The Light of the Mountain, emphasizing the synthesis of traditional Jinqian Clapper performance elements with modern themes. The investigation demonstrated that the rhythmic foundation created by the bamboo clappers serves to drive the narrative forward while simultaneously emphasizing important thematic elements, such as those presented by Yun Li Bai and Ban Qiang. This research offers a performance guideline for presenting The Light of the Mountain with a vocal ensemble, emphasizing the need to balance traditional clapper styles with contemporary storytelling techniques. The study seeks to contribute to the preservation and evolution of Jinqian Clapper as a dynamic cultural art form by examining and contextualizing these elements, thereby enabling it to convey complex narratives in contemporary settings.
A PERFORMER’S INQUIRY INTO EXPRESSIVE QUALITIES IN LUAN KAI’S MY LOVE IS WAITING FOR YOU Xueying, Wang; Yap Jin Hin
TAMUMATRA Vol 7 No 2 (2025): Tamumatra
Publisher : Universitas Hamzanwadi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29408/tmmt.v7i2.29327

Abstract

Luan Kai's work has notably influenced contemporary Chinese music, contributing to the evolution of this genre within a global framework. His works are extensively performed in China and have achieved notable international recognition. Nevertheless, there is a scarcity of research focusing on the particular vocal techniques utilized, including modal interchange and extended interpretation that integrate Eastern and Western practices. A study is required to examine the execution of ornamental figures and expressive markings authentically, taking into account the integration of traditional Chinese and Western vocal practices. This study examines one of his well-known songs, 我的深情为你守候 (My love is waiting for you), which highlights his distinctive compositional style that integrates traditional Chinese musical elements with contemporary harmonies and orchestration techniques. This study is conducted based on practice-based research. This study aims to enhance the academic understanding of music performance concerning Luan Kai's "我的深情为你守候." Exploring these areas enables scholars and practitioners to equip performers with the essential tools and understanding required to address the technical and expressive demands of the piece, while also fostering collaboration and mutual understanding between Eastern and Western musical traditions. Keywords:   Contemporary Chinese Music; Luan Kai; 我的深情为你守候 ("My Love is Waiting for You"); Technical and Expressive Demands; Vocal Techniques

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