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ricky Irawan
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Program Studi Musik, Fakultas Seni Pertunjukan, Institut Seni Indonesia Denpasar. Jalan Nusa Indah, Denpasar 80235
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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 159 Documents
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YouTube sebagai Media Teknologi Informasi dan Komunikasi dalam Konteks Hasil Pembelajaran Praktik Instrumen Violin Prodi Pendidikan Musik Institut Seni Indonesia Yogyakarta Sagaf Faozata Adzkia
Journal of Music Science, Technology, and Industry Vol. 4 No. 1 (2021)
Publisher : Institut Seni Indonesia Denpasar

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Abstract

Purpose: This article describes the creation of youtube video content as a result of learning violin instrument practice of the ISI Yogyakarta Fakultas Seni Pertunjukan Music Education Study Program, and analyzes the role of youtube as a medium for information and communication technology in the community in the context of learning outcomes of the violin instrument practice in the Music Education Study Program of FSP ISI Yogyakarta. Research methods: This study uses an interdisciplinary approach and qualitative research methods. Results and discussion: The answer to the first problem regarding the making of youtube video content as a result of learning the violin instrument practice course includes the preparation of a video design, consultation with the head of study program regarding ideas, preparing human resources/talent, carrying out recording, carrying out video editing, and posting videos of learning results of the violin instrument practice to youtube . In the second problem, the research results obtained that the recording of learning outcomes of the violin instrument practice in the ISI Yogyakarta Music Education Study Program is a form of achievement of learning targets for lecturers and students. Implication: Video recording of learning outcomes is an information on academic identity through the mechanism of processing recording works, storing audio-visual data on learning outcomes, and disseminating and presenting information on learning processes and outcomes institutionally.
Contingency Planning in IT Risk Audit on Music Digital Recording Company Isra Ruddin; Handri Santoso; Richardus Eko Indrajit; Erick Dazki
Journal of Music Science, Technology, and Industry Vol. 4 No. 2 (2021)
Publisher : Institut Seni Indonesia Denpasar

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Abstract

Tujuan: Aplikasi dan layanan musik harus menciptakan pengalaman privasi yang baik dan menghasilkan kepercayaan dan keyakinan. Metode penelitian: Kunci untuk mewujudkan tujuan ini adalah kerangka kerja yang kuat dan efektif untuk perlindungan keamanan, berdasarkan prinsip transparansi, pilihan, dan kontrol. Hasil dan pembahasan: Sistem Apex memperluas Android untuk memungkinkan pengguna secara selektif mengizinkan, menolak, atau membatasi akses dengan izin khusus yang diminta oleh aplikasi. Efek samping dari penolakan akses ke sumber daya adalah aplikasi dapat melempar pengecualian dan menghentikannya. Implikasi: Pengembangan ProtectMyPrivacy (PMP) diharapkan pengguna memiliki perlindungan yang lebih kuat terhadap serangan yang berfokus pada privasi, tetapi kehilangan perlindungan terhadap serangan runtime.
Gitar Klasik Lampung Pesisir: Pola Permainan dan Sistem Penalaannya Erizal Barnawi; Bian Pamungkas; M. Randi Dimas Prayoga; M Yoga
Journal of Music Science, Technology, and Industry Vol. 4 No. 2 (2021)
Publisher : Institut Seni Indonesia Denpasar

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Abstract

Purpose: This study aims to find out what songs (tetti') are on the Lampung Coastal Classical Guitar and to be able to be transcribed into beam notation. Because so far not many have transcribed to become learning materials. Research methods: Qualitative research with a case study approach is applied and a musicological analysis study will be used to analyze the passages and the tuning system on the Lampung Coastal Classical Guitar. Results and discussion: The results of the reduction were analyzed based on the theoretical framework used by Alan P Marriam's concept to determine the tuning and strumming system used by Edi Pulampas, Hila Hambala, and Imam Rojali. The results of the analysis will be related to the framework of Karl Edmund Prier SJ's thinking about a form of Lampung Coastal Classical Guitar music that exists and lives in the community. Implication: The names of the tunings found in the study are the Salimpat Stem, Gung Sai Stem, Triple Stem, Batang Hari Sembilan Stem and Standard Stem. With the tuning system, Salimpat Stem (e',b,fis,d,b,E), Gung Sai Stem (e',b,g,d,b,E), Triple Triumvirate Stem (e',b,e', d,b,E), Nine Days Stem (e',b,fis,d,b,E) and standard stem (e',b,g,d,a,E).
Teknik Improvisasi Gitar dalam Musik Keroncong Arie Kusumah
Journal of Music Science, Technology, and Industry Vol. 4 No. 2 (2021)
Publisher : Institut Seni Indonesia Denpasar

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Abstract

Traditions and Transformations: From Candomblé to the Sambodromo Carnival I Gde Made Indra Sadguna; Made Ayu Desiari
Journal of Music Science, Technology, and Industry Vol. 4 No. 2 (2021)
Publisher : Institut Seni Indonesia Denpasar

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Abstract

Tujuan: Artikel ini akan berbicara tentang salah satu peristiwa paling penting di Brasil, bernama Karnaval Sambodromo. Ini adalah acara yang menyatukan orang-orang untuk perayaan dan kegembiraan saat berparade di jalanan. Metode penelitian: Artikel ini akan membahas bagaimana tradisi Candomblé sebagai asal mula samba, berubah menjadi karnaval Sambodromo modern, sekaligus menganalisis “O Santo EO Rei - Encantarias De Sebastião” oleh Paraíso Do Tuiuti sebagai salah satu peserta 2020 karnaval. Hasil dan pembahasan: Karnaval (keseluruhan perayaan populer, ritual, dan bentuk karnaval lainnya) mengakar kuat dalam jiwa manusia baik pada tingkat kolektif maupun individu. Implikasi: Karnaval di Brazil merupakan perpaduan antara tradisi dan transformasi. Ia mempertahankan semangat keberakarannya pada praktik relijius yang berasal dari dari praktik Candomblé.
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

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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.

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