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Journal of Music Science, Technology, and Industry (JOMSTI)
Published by Institut Seni Indonesia Denpasar
ISSN : -     EISSN : 26228211     DOI : https://doi.org/10.31091
Core Subject : Education, Art, Social,
Arts Social Sciences Other
Journal of Music Science, Technology, and Industry is a scientific media disseminating science, technology, aesthetic, and industry of music in relation to its uses in the society. JOMSTI is published with a focus on philosophy, aesthetic, concept, and theory of music; music analysis and genre; music education and learning; specific and/or common, traditional and/or modern, local and/or global music history and entity; music application, practice, show or performance, and technology; production, distribution, and consumption in music industrialization; anthropology, sociology, and psychology of music.
Arjuna Subject : Seni dan Humaniora - Musik
Articles 8 Documents
 1 
Search results for , issue "Vol. 1 No. 1 (2018)" : 8 Documents clear
Improvisation in Balinese Music: An Analytical Study of Three Different Types of Drumming in the Balinese Gamelan Gong Kebyar I Wayan Sudirana
Journal of Music Science, Technology, and Industry Vol. 1 No. 1 (2018)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1059.242 KB) | DOI: 10.31091/jomsti.v1i1.502

Abstract

Gong kebyar muncul pada awal abad ke-20 dan pada mulanya merupakan genre instrumental. Dalam perkembangan selanjutnya, ensambel tersebut menjadi terbiasa dengan komposisi tari yang menyertainya, yang dihiasi dengan improvisasi tari yang berbeda sesuai dengan gaya khas gong kebyar. Ada tiga jenis drum Bali yang dianggap improvisasi, khususnya gaya-gaya yang dimainkan dalam repertoar gamelan gong kebyar. Gamelan gong kebyar adalah genre musik abad ke-20 yang paling populer dan berpengaruh yang dikembangkan di Bali. Dalam gamelan baru ini, fungsi drum (di Bali disebut kendang) dalam ensambel lebih penting daripada pada gaya lama dan dianggap sebagai pemimpin ensembel. Drumer adalah musisi yang terampil dan biasanya adalah guru, yang tahu semua bagian yang dimainkan oleh instrumen lain dalam ensembel. Krumpungan, Cedugan, dan Gupekan adalah contoh gaya drum yang memberikan ide improvisasi, meskipun di Bali tidak ada istilah khusus untuk improvisasi. Namun di sini ada ide yang sama dan rasa makna improvisasi itu sendiri dengan cara memainkan beberapa drum secara spontan dalam jalannya pertunjukan, dengan menggunakan kemampuan pemain drum untuk menciptakan pola spontan baru di panggung. Ada beberapa aspek penting yang perlu digarisbawahi dalam menciptakan pola-pola tersebut, seperti: iringan melodi, isyarat penari, kemitraan yang baik (dalam krumpungan dan cedugan), dan kemampuan untuk memimpin ensambel. Aspek-aspek tersebut memiliki peran penting dalam pencapaian improvisasi drum dalam pettunjukan. Improvisasi drum tetap sesuatu yang harus dipelajari lebih komprehensif di masa depan. Ini masih merupakan konsep abstrak bagi banyak musisi dan juga pecinta gamelan Bali.
Antara Teori Formula Albert B Lord dan Musikologi Nugrahanstya Cahya Widyanta
Journal of Music Science, Technology, and Industry Vol. 1 No. 1 (2018)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (569.07 KB) | DOI: 10.31091/jomsti.v1i1.503

Abstract

Study of oral literature and a discipline named musicology have a linkage that has never been very often expressed yet. This paper is to reveal that music is an oral frame to bring a regularity in making sentences of oral literature works in Yugoslavia. Such a thing is researched using a qualitative method. Data analysis is done through three steps, they are data reduction, data display, and conclusion and verification. The data is taken from a book entitled The Singer by Albert B Lord containing his theoretical formula concerning the oral literature in Yugoslavia. It is analysed by using a theory of musical form and structure by Leon Stein. Compositions in the oral literature is seen using Lord’s theory of formula. In this case, a singer remembers the repetition and creates it by analogy by the way of repeating the existing words, phrases, clauses, and arrays. There is a process of re-accumulating, re-combinating, and re-modelling the existing formula. So, the singer has his or her own style in expressing the works of the oral literature, but he or she always has the same number of syllables in every sentence. This can happen due to the musical taste used. The singer never count the number of syllables that exists but such regularity can occur due to the musical taste.
Analisis Bentuk dan Struktur Komposisi “Morning Happiness” Gus Teja I Made Jacky Ariesta; Ni Wayan Ardini; I Komang Darmayuda; Ketut Sumerjana
Journal of Music Science, Technology, and Industry Vol. 1 No. 1 (2018)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1520.901 KB) | DOI: 10.31091/jomsti.v1i1.504

Abstract

Gus Teja World Music’s musical composition "Morning Happiness" (2008) was inspired when its composer Agus Teja Sentosa (Gus Teja) had been suddenly stunned to see his child smile after being recovered from illness in one morning. The sounds of happiness or the morning bliss was then poured into the instrumental musical composition which was put in his group’s first album "Rhytm of Paradise". The problem of this research is how the form and structure of the composition was. The research method used is qualitative. The theory used to solve the problem is the form and structure analysis theory of song. Primary data sources were obtained from interviews, observations, and discography (VCD). Secondary data were obtained from books, journals, and internet sources. The result of the research showed the musical instruments used in this composition, are flute, selokro, tingklik baro, guitar, bass, kendang angklung. In this composition, the flute plays an important role as the main melody of the song. The instruments are made from bamboos, and the flute used in this composition is a blend of Balinese flute with Indian and Bandung ones. From the musical aspects, there are rules such as the provisions of number of bars, sukat, progress chord in which rhythm patterns are played in accordance with what are usually determined. This composition uses the basic tone D = do, with an allegro tempo (120MM), and uses a ¾ and a three-part shaped A, B, C, C', started with an introduction.
Lantunan Masa Kecil dalam “Lullabybianu” Komang Wira Adhi Mahardika
Journal of Music Science, Technology, and Industry Vol. 1 No. 1 (2018)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1420.802 KB) | DOI: 10.31091/jomsti.v1i1.505

Abstract

“Bibi Anu”//Lamun payu luas manjus/Antenge tekekang//Yatnain ngabe masui//Tiyuk puntul//Bawang anggen sasikepan. The folk song which has deep meaning and full of messages is always ringing in the hearts of Balinese children. Moreover, mother's love for her beloved child in simple lyrics and tones in the "Bibi Anu” indicates that every child should always be alert, preparing for every circumstances. However, today, the song is getting drowned, considered obsolete and is marginalized. There is an impression that singing traditional songs such as "Bibi Anu" is regarded out of date so that such kind of song is not favoured anymore. In social media which develop rapidly, traditional songs such as "Bibi Anu" are rarely seen. Therefore, the composer wants to compose it newly, into a project named "Lullabybianu", i.e. from the words lullaby and "Bibi Anu". Lullaby is a universal song sung for children. This project is a form of presentation of the musical composition that comes from the desire of the composer to pick a traditional childhood's song in Bali, especially pupuh pucung into a new musical work performed with a combination of Western and Balinese musical instruments. In this case, the composer combines Western and Balinese music through an ansamble of cello, piano, saxophone, percussion combined with gender rambat traditional instrument, flute, and vocals. "Lullabybianu" is composed basing on the musical science of harmony and other musical theories in which there are special rules that bind so that the notation of this work will be good and true.
Kearifan Lokal Musikal dalam Lagu-lagu Album Bali Kumara I Putu Lukita Wiweka Nugraha Putra
Journal of Music Science, Technology, and Industry Vol. 1 No. 1 (2018)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (568.263 KB) | DOI: 10.31091/jomsti.v1i1.506

Abstract

The topic of this article covers local wisdom in the songs of Bali Kumara first album. The purpose of writing this article is to describe the local wisdom in the songs of the Bali Kumara first album. The method used in this study is descriptive-qualitative. I Komang Darmayuda as a composer of Bali Kumara first Album songs is an informant in this research. The data is audio recording of songs in Bali Kumara first album. The Balinese local wisdom in the songs of Bali Kumara first album lies in the use of tone named titi laras pelog and slendro, as well as the use of the Balinese language such as singgih and sor. Pelog and slendro tones are implemented in the main melodies, either by keyboard instruments, gamelan or vocals. In some songs, there are also other scales, such as diatonic and chromatic, which do not diminish the pelog and slendro colors. Seen from the point of view basa singgih (levels in the Balinese language), most of the songs in the album Bali Kumara uses basa singgih, and some basa sor. Balinese pop songs as one of the profane art that grow and develop in Bali should contain elements of the Baliense local wisdom. The local wisdom contained in the songs of Bali Kumara album can be a foothold for the performers of Balinese pop songs especially composers in creating works, so that the identity of the Balinese pop songs is maintained.
Gamelan Soepra: Konsep dan Perilaku Musikal untuk Mencapai Tujuan Pendidikan Agustinus Sani Aryanto
Journal of Music Science, Technology, and Industry Vol. 1 No. 1 (2018)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (535.129 KB) | DOI: 10.31091/jomsti.v1i1.507

Abstract

Soepra Gamelan is a set of gamelan adapted from Javanese Gamelan and has diatonic note like westen musical instruments. Soepra Gamelan is played with combo band and string section. Soepra Gamelan was created by a Jesuit from Netherlands Henricus Constant Van Deinse SJ in 1957. Soepra Gamelan has become a music subject in Loyola Senior High School Semarang since 2011. This research is to know the essence of Soepra Gamelan as a music learning means and to describe concept, musical behaviour, and the sound of Soepra Gamelan in Loyola Junior High School Semarang. Method in this research is qualitative using observation, interview, and literature study. This research is based on musicology approach. The approach is used to analyze instrumentalitation in Soepra Gamelan. The data is analyzed by using Musical Activity Theory by Alan P Merriam regarding the concept, musical behaviour, and the sound of Soepra Gamelan while Herbert Read theory is used to analyze the function of learning as a musical educational means in Loyola Senior High School Semarang. The result of this research is that Loyola Senior High School Semarang has a special method in introducing gamelan. Musical scale in Soepra Gamelan has an advantages and disadvantages (positive and negative impacts). Students can play many genre of songs in pentatonic and diatonic musical scale easily but, however, the characters of Javanese musical scale are disappeared. Through Soepra Gamelan, the students can recognize western and eastern culture from musical instrument and repertoire songs. Routine concert in performing the gamelan gives a real experience to the students in terms of process, preparation, and performance.
Semangat Perlawanan Musik Indie (Kasus Bali) I Dewa Gede Kusuma
Journal of Music Science, Technology, and Industry Vol. 1 No. 1 (2018)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (652.363 KB) | DOI: 10.31091/jomsti.v1i1.508

Abstract

The experience of Serangan Island reclamation is a benchmark for the real failure of reclamation in the Southeast of Bali. The New Order (ORBA) situation during the time of President Soeharto was a separate Serangan Island with the cluster of Bali Island, and then there was a hoarding of coastal areas almost three times the initial area of Serangan Coast. Access to Attack can eventually blend without using a boat or boat. Indigenous peoples pasubayan in southern Bali, eager not to get hit by similar problems experience occurred in Serangan Island. Communities in south Bali are involved in resisting and resisting the reclamation plan through the practice of indie music peacefully, creatively, and without anarchism. This research is conducted by qualitative method in the context of critical culture study. The results show that environmental activists and indie musicians in Bali since 2012 are getting more agitated after the emergence of the issue of the Bay of Benoa reclamation plan. Indie musicians are slowly directing the ideology of their movement to reject the idea of government and developer investors to reclaim the Benoa Bay area of 838 Ha in Tanjung Benoa, Jimbaran, Badung regency, Bali. Indie music has a counter-interest in conveying the social message of the real conditions that occur in society. Indie music movements collaborate with activists and indigenous peoples in conveying resistance messages as an effort to protect Bali's natural environment in the future.
Balinese Pop Music: An Industrialization Era Ni Wayan Ardini
Journal of Music Science, Technology, and Industry Vol. 1 No. 1 (2018)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (553.159 KB) | DOI: 10.31091/jomsti.v1i1.509

Abstract

Musik pop Bali muncul pada tahun 1970-an tetapi industrialisasinya mengacu pada perkembangan industrial yang dimulai pada 1990-an. Industrialisasi ini dicirikan oleh aspek ekonomi, teknologi, dan budaya baru dalam musik. Semua aspek terkait satu sama lain. Perekonomian dapat dilihat dari pertumbuhan modal dalam bisnis semacam itu. Teknologi terlihat dalam penggunaan teknologi digital menggantikan yang analog. Budaya baru dalam musik ditampilkan dalam kesadaran yang lebih besar dari orang-orang Bali dalam menikmati lagu-lagu pop Bali. Orang Bali tidak lagi malu menyanyikan lagu-lagu seperti itu. Tinjauan kepustakaan ini menggunakan teknik analisis data kualitatif. Hasil penelitian menunjukkan bahwa industrialisasi musik pop Bali terdiri atas produksi, distribusi, dan konsumsi musik. Produksi diciptakan oleh kekuatan budaya (musisi) dan kekuatan modal (pemilik modal). Distribusi musik pop Bali dalam pemasaran saat ini dilakukan dengan menggunakan dukungan kekuatan media, khususnya media elektronik, yaitu radio (sejak 1990-an dan bahkan lebih awal), khususnya televisi (sejak 2002), dalam hal ini Bali TV. Produksi dan distribusi tersebut memungkinkan konsumsi musik pop Bali besar-besaran dalam masyarakat Bali. Konsumsi berkaitan dengan keberadaan budaya musik baru di masyarakat. Meskipun industrialisasi ini cenderung bersifat kapitalistik, seniman Bali atau musisi dapat mencari nafkah melalui lagu-lagu pop Bali. Ini bukan kapitalisme modern tetapi postmodern, yakni sebagai musik yang bergantung pada keberadaan masyarakat Bali dan budaya mereka.

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