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INDONESIA
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 11 Documents
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Search results for , issue "Vol. 6 No. 2 (2023)" : 11 Documents clear
Construction of Malayan Zapin after Covid-19 Pandemic Robby Hidajat; Muhammad ‘Afaf Hasyimy; Ni Wayan Mudiasih
Journal of Music Science, Technology, and Industry Vol. 6 No. 2 (2023)
Publisher : Institut Seni Indonesia Denpasar

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Purpose: the research reviews the recent condition of Malayan Zapin dance in various regions in Indonesia, including Palembang, Riau, Banjarmasin, Gresik, and Tarakan. These regions are places where Malayan Zapin dance are redesigned for entertainment. Although the conserver societies are not quite wealthy, their existence is not extinct despite the outbreak of Covid-19 pandemic for two years. The objective of this research is therefore to understand the construction of Zapin dance from Malay ethnic in several conservation regions. Methods: The method of this research is using qualitative descriptive approach. Data concerning Zapin development are collected by conducting virtual interview with key informants through Whatsapp, Zoom and video call. Data analysis procedure involves collecting, sorting, and tabulating the data. Analysis technique is interpretative descriptive. Result and discussion: The results of this research show that (1) Zapin is constructed as the complement to local ethnic dances, (2) Zapin is constructed as the alternative dance material to be taught at school, and (3) Zapin is constructed a creative work. Implication: The authors find that the effort of the conserver societies to develop Zapin dance as a remarkable topic and the development of Zapin dance as a genuine art of Indonesian archipelago are barely studied.
“Square Numbers”: Komposisi Musik Hibrid Dengan Konsep Deretan Bilangan Persegi I Gede Raditya Yudhistira; Ni Wayan Ardini; I Wayan Sudirana
Journal of Music Science, Technology, and Industry Vol. 6 No. 2 (2023)
Publisher : Institut Seni Indonesia Denpasar

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Tujuan: Artikel ini digunakan untuk memperkenalkan komposisi musik yang menggunakan deretan angka square numbers yang ditransformasi menjadi ide musikal seperti pergerakan pitch, pengembangan rhythm, dan time signature. Karya musik hybrid “Square Numbers” ini merupakan karya yang terdiri atas tiga bagian dengan format septet (7 orang). Metode Penciptaan: Karya musik hybrid “Square Numbers” mengacu pada lima tahapan penciptaan oleh Konsorsium Seni, yaitu persiapan, elaborasi, sintesis, realisasi konsep, dan penyelesaian. Hasil dan pembahasan: Karya musik hybrid “Square Numbers” terdiri atas tiga bagian (I, II, III), yang setiap bagiannya dibagi lagi menjadi dua sub bagian (IA, IB, IIA, IIB, IIIA, IIIB), dengan interpretasi yang berbeda tetapi dalam satu kesatuan. Karya musik hybrid “Square Numbers” adalah musik hybrid yang menggabungkan idiom musik tradisional Bali, idiom musik Barat. Implikasi: Pencipta meminjam idiom musik Bali seperti pola kotekan, tangga nada pelog dan selendro. Pencipta meminjam idiom musik barat seperti invert, chord, retrograde pitch and rhythm, counterpoint.
Proses Produksi Musik pada Lagu Tyok Satrio Puput Pramuditya; Arya Putra Hananta
Journal of Music Science, Technology, and Industry Vol. 6 No. 2 (2023)
Publisher : Institut Seni Indonesia Denpasar

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Tujuan: penelitian bertujuan untuk mengidentifikasi dan menguraikan proses produksi musik untuk lagu-lagu Tyok Satrio yang dilakukan secara mandiri di Studio DS Records oleh Danurseto Bramana Adhi. Metode: Berbagai tahapan dari penulisan lagu hingga pembuatan iringan musik saling terintegrasi dalam sebuah kesatuan proses produksi musik. Menurut Sawyer dan Golding, produksi musik mempunyai 3 (tiga) tahapan umum yaitu: (1) Pre-Production yang berisi segala perencanaan konsep musikal sebagai efisiensi proses perekaman; (2) Production yaitu proses perekaman dalam produksi musik yang melibatkan seluruh musisi; (3) Post Production adalah fase terakhir yang berisi proses editing, balancing, mixing-mastering untuk menyajikan lagu siap dengar. Penelitian ini menggunakan metode kualitatif untuk menemukan dan memahami berbagai fenomena yang ditemui untuk kemudian dianalisis secara cermat. Teknik pengambilan data dilakukan dengan observasi, wawancara, dan dokumentasi. Hasil dan pembahasan: penelitian ini menunjukkan bahwa proses produksi musik yang dilakukan Danurseto dilakukan menggunakan metode Sawyer dan Golding dengan keseluruhan peran departemen yang saling terintegrasi oleh orang yang sama. Implikasi: menunjukkan bahwa proses produksi musik pada lagu Tyok Satrio yang dilakukan oleh Danurseto sebagai Produser, A&R, songwriter, arranger, instrumentalis, dan sound engineer sekaligus dapat mencapai efisiensi kerja dengan cara mekanisme kerja yang saling terintegrasi dalam setiap tahapannya.
Ansambel Klenongan di Tiyuh Panaragan, Kabupaten Tulang Bawang Barat Erizal Barnawi; Bian Pamungkas; Adi Saputra; Sony Afandi4
Journal of Music Science, Technology, and Industry Vol. 6 No. 2 (2023)
Publisher : Institut Seni Indonesia Denpasar

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Tujuan: Artikel ini bertujuan untuk mengkaji bentuk penyajian musikal dan non musikal serta fungsi ansambel Klenongan di Tiyuh Panaragan. Selain itu mendokumentasikan melalui transkripsi notasi balok dari tabuhan-tabuhan yang ada di ansambel Klenongan. Metode penelitian: penelitian ini menggunakan metode kualitatif dengan pendekatan deskriptif analisis yang difokuskan pada objek ansambel Klenongan. Selanjutnya penggunakan reduksi data untuk menganalisis bentuk dan fungsinya ansambel Klenongan dengan pendekatan teori fungsinya Alan P Merriam, dan teori bentuk musik dari Pono Banoe. Hasil dan pembahasan: Bentuk penyajian musikal ansambel Klenongan meliputi instrumen Klenong, instrumen Gujih, instrumen Gung, instrumen Gender, dan instrumen Kelabay. Untuk tangga nadanya meliputi D-E-F-A-B-D’ serta tabuhannya yakni, tabuh Tari, tabuh Tigel, dan tabuh Tarub. Selanjutnya untuk penyajian non musikal meliputi tempat, pendukung, waktu, pemain, kostum pemain, tata cahaya, dan pengeras suara. Fungsi musik dalam ansambel Klenongan yakni fungsi sebagai pengungkap emosional, fungsi sebagai hiburan, fungsi sebagai sarana, fungsi sebagai repon fisik, Fungsi sebagai pengukuhan institusi sosial, fungsi sebagai keserasian norma-norma masyarakat. Implikasi: Penelitian ini memberikan kontribusi untuk media pembelajaran karena mentranskripsikan tabuhan-tabuhan asli dari daerah Panaragan, Kab. Tulang Bawang Barat, dan memberikan pandangan untuk kajian etnomusikologi mengenai bentuk dan fungsi musik ansambel Klenongan.
Bali Fusion Pop Music I Wayan Sudirana
Journal of Music Science, Technology, and Industry Vol. 6 No. 2 (2023)
Publisher : Institut Seni Indonesia Denpasar

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Abstract

Purpose: In this era of globalization, intercultural interaction between musicians from all over the world is inevitable. This worldwide interaction ultimately enriches contemporary music. Methods: As Blaukopf says, “acculturation doesn’t necessarily mean the loss of cultural identity; there is also acculturation which leads to enrichment in music, independent of its economical significance. Results and discussion: The emergence of fusion pop music groups is a response of the development of human’s culture. The commercialized forms of their musics are the effect of the rapid development of tourism industry in Bali. Their innovations and creative ideas are depending on their consumers’ needs. Implication: The positive outcome of these creative ideas is that composers are looking for new styles and ways of playing, composing, and exploring that do not intersect with traditional ones.
“Kelangensih”: Karya Musik Inovatif Perpaduan Alap Bali dan Alap Hindustani Desak Made Suarti Laksmi; I Ketut Sumerjana; I Komang Darmayuda; Jyothi Devi Krishnanandayani
Journal of Music Science, Technology, and Industry Vol. 6 No. 2 (2023)
Publisher : Institut Seni Indonesia Denpasar

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Pupose: Traditional Balinese vocal karawitan has a rich variety of types and variants. It also has a function and purpose that is deeply rooted as a treasure of musical art which is firmly bound by its standards. Many efforts have been made to develop it both in its integration with instrumental music and with Western musical instruments in various genres. Research methods: Several stages of creation methods such as exploration, improvisation, formation and evaluation are a creation process that produces an innovative musical work "Kelangensih". A fusion of traditional Balinese vocal style and Hindustani Classical vocal technique, combined with chamber music accompaniment as a medium of expression. By raising the theme of beauty and love, the type of Balinese hymn "Wilet Mayura" is the main work combined with Hindustani vocal technique with varied Raga processing. Raaga was chosen to enrich musical artwork in processing the melody, mood and rhythm as well as to provide wider space for the type of hymn as an aesthetic presentation for performances apart from being a religious ritual art. Result and discussion: This work provides new colors and nuances to enrich the musical treasures of Nusantara which can open up space for traditional-song singers to develop and improve their skills in working on musical works that can open new insights. Implication: This work is a new form of work using traditional material that developed creatively and innovatively. It is expected that this work will be able to reach its audience not only locally, but also regionally and transnationally. By developing this artwork into article, it has implications for the emergence of talented young creators who can encourage the growth and development of new works.
Karya Tabuh Kreasi “Pitu” I Putu Hare Krsna Darma Yoga
Journal of Music Science, Technology, and Industry Vol. 6 No. 2 (2023)
Publisher : Institut Seni Indonesia Denpasar

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Purpose: the number seven is a mysterious, unique, magical and meaningful number. Hindu Religion, the number seven is believed to have a special feature because there are seven layers on Earth, namely patala. Methods: the process of creating Pitu's work is an attempt to create a new work of art, especially in the field of Balinese Karawitan art. Pitu's work is a musical creation that uses three parts including, part I (kawitan), part II (gegenderan and bapang), part III (cutter and pekaad). The stylist creates a creation percussion which is structurally starting from kawitan to pekaad which is based on the number seven. The media used in Tabuh Kreasi Pitu uses the gamelan Semar Pegulungan Saih Pitu with a seven-tone pelog barrel to be used as a medium for saying. Pitu's creation of tabuh uses several counts of seven which are combined with dynamics, tempo and melodic games that are developed so as not to look monotonous. Result and discussion: as an academic artist who has more abilities in the academic field, he should be able to create a quality and weighty work. Implication: It is hoped that Tabuh Kreasi Pitu can provide more space for students to be creative by organizing compositional events outside class hours.
Tabuh Kutus Lelambatan “Abdi Budaya” I Gede Mawan; I Putu Tiodore Adi Bawa; I Wayan Diana Putra
Journal of Music Science, Technology, and Industry Vol. 6 No. 2 (2023)
Publisher : Institut Seni Indonesia Denpasar

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Purpose: This art research and creation aims to produce a tabuh for Kutus Lelambatan with the title “Abdi Budaya” which was presented at the Seke Gong Abdi Budaya, Banjar Anyar Perean Kangin, Baturiti, Tabanan. Methods: The method of creation or steps in the creation of the “Abdi Budaya” uses the art creation method used by two (2) gamelan composers, namely Pande Made Sukerta who composed the Content Ideas, Arranged the Arrangement Ideas and Determined the Arrangements, and I Wayan Beratha consisting of from nguping, menahin, ngalusin dan ngungkab rasa. Aesthetically, the “Abdi Budaya” refers to the style of the papayasang pegongan of Pangkung Village and the ubit-ubitan kekebyaran of Banjar Anyar Perean. Results and discussion: Lelambatan is a form of tabuh from gending pegongan which functions as an instrumental tabuh the context of ceremonies or performing arts. Conventionally there are several types according to the colotomic structure, namely tabuh pisan, tabuh telu, tabuh pat, tabuh nem and tabuh kutus. However, the Tabuh Kutus Lelambatan is very rarely found in Bali considering that its melody cycle is quite long. Long melodies from the tabuh docusus can be accomplished with the "priring" technique, namely condensing the beat divisions. Implication: The “Abdi Budaya” consists of eight parts, namely: kawitan, gineman, gegenderan, pengawak, pengisep, bebaturan, gegilakan and penyewud. Gending Tabuh Kutus Lelambatan “Abdi Budaya” is presented with the medium of Gamelan Gong Kebyar. The presentation of the Tabuh Kutus Lelambatan “Abdi Budaya” was held offline and online.
Komposisi Karawitan “Maha Aksa” I Made Andika Candra Wigraha; Ni Ketut Dewi Yulianti; I Nyoman Mariyana
Journal of Music Science, Technology, and Industry Vol. 6 No. 2 (2023)
Publisher : Institut Seni Indonesia Denpasar

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Purpose: this karawitan artwork is to transform the idea obtained from the fly’s vision system into "Maha Aksa karawitan" artwork. Meanwhile, this paper is also intended to describe the values contained in "Maha Aksa karawitan artwork." Methods: the creating process of “Maha Aksa" artwork uses the method by Alma M. Hawkins, which consists of 3 stages, namely Exploration, Improvisation, and Forming. This artwork uses “Asta Wirat Bhumi” gamelan as an expression media. Result and Discussion: “Gamelan Asta Wirat Bhumi” was created from exploration and combination of 3 Balinese gamelan elements, namely “Jegog, Balaganjur, and Selonding gamelan.” The new karawitan artwork "Maha Aksa" is an educational media inspired by the sighting system of flies with compound eyes that have a perspective on the speed of movement. Implication: the values contained in the new karawitan artwork "Maha Aksa" are the story values (moral values) and formal values (artistic values).
“Goak Ngolol”, Tranformasi Jegog ke Jes Gamelan Fusion I Putu Riangga Budi Pramana; I Gede Yudarta; Hendra Santosa
Journal of Music Science, Technology, and Industry Vol. 6 No. 2 (2023)
Publisher : Institut Seni Indonesia Denpasar

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Purpose: Music Composition "Goak Ngolol" is a form of composition created based on interest in the art of Jegog Jembrana. Methods: The research method used is a qualitative research method with a musicological perspective that focuses on aspects of the transformation of song motifs from Jegog to JES Gamelan Fusion through instrumentation techniques. Results and discussion: "Goak Ngolol" is an innovative character work created by I Nyoman Windha, S.Skar., M.A as a form of transformation of Jegog Jembrana characteristics to JES Gamelan Fusion characteristics. Jes Gamelan Fusion is a music community and a gamelan name coined by I Nyoman Windha. JES Gamelan Fusion is a form of creativity that combines two types of gamelan that is packed with innovative styles, but still rooted in Balinese characteristics. Two types of gamelan as the basic foundation are Jegog and Semar Pagulingan Saih Pitu. Implication: Although there is still Jegog in it, Jegog JES Gamelan Fusion is something different from Jegog in general, giving rise to the perspective of sound colors and game techniques as a new transformation of works.

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