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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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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 159 Documents
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“Belenggu Benalu”: Komposisi Kolaborasi-Interpretatif mengenai Pengaruh Akulturasi Budaya Barat pada Musik Batak Toba “Uning-uningan” Oang Gabriel Matanari; I Komang Darmayuda; Ni Wayan Ardini
Journal of Music Science, Technology, and Industry Vol. 2 No. 1 (2019)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1171.375 KB) | DOI: 10.31091/jomsti.v2i1.612

Abstract

Foreign culture that enters Batak land in North Sumatera, Indonesia, has a great influence on the development of the Batak Toba music or Uning-uningan (an ensemble transformed between Gondang Hasapi consisting of Sarune Etek, Hasapi Doal, Hasapi Ende, Garantung, as well as Hesek and Gondang Sabangunan/Bolon (Taganing, Ogung (Gong), Odap, Hesek and Sarune Bolon). Nowadays, most of the traditional Batak Toba ceremonials present the concept of Uning-uningan music with keyboard accompaniment, especially in the situations that there is a budget limitation which gives a large space for single organ players (keyboardist) to apply Uning-uningan musical repertoires only with an instrument (i.e. the keyboard). This certainly gives negative influence on the existence of the Batak Toba traditional music. As a result the influence that happened because of the western culture makes the people of Batak Toba prefers the musical concept of Uning-uningan with keyboard accompaniment. Therefore, the concern of the author and composer in responding to the influence of acculturation on the existence of Batak Toba traditional music is outlined in musical composition entitled “Belenggu Benalu”. Through this music composition hopefully the people of Batak Toba, especially Batak musicians are aware and participate in preserving and maintaining Uning-uningan and other traditional Batak music as one of the identities of the Indonesian art and culture diversity.
Trompong, Trombone, Trumpet, and Jegogan in Trom-Trom-Trum Composition Agus Cahyadi; Ni Wayan Ardini; Desak Made Suarti Laksmi; Ketut Sumerjana
Journal of Music Science, Technology, and Industry Vol. 2 No. 2 (2019)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1180.797 KB) | DOI: 10.31091/jomsti.v2i2.864

Abstract

Trom-Trom-Trum diciptakan oleh seniman Bali I Nyoman Windha pada tahun 2003. Judul ini merupakan ungkapan dari penggunaan kombinasi alat musik trompong, trombone, dan trompet yang digunakan dalam komposisi musik ini. Dua di antaranya adalah instrumen Barat, yaitu trombone dan trompet, dan instrumen lainnya adalah gamelan Bali, yaitu trompong dan satu pasang jegogan yang fungsinya dalam komposisi ini sebagai aksen. Metode penelitian yang digunakan adalah metode kualitatif, dengan teknik pengumpulan data melalui observasi, wawancara, studi dokumen, dan diskografi. Hasil penelitian menunjukkan, dalam Trom-Trom-Trum, dari aspek musikalnya, terdapat kaidah-kaidah seperti ketentuan jumlah birama, tanda sukat, progress chord, dan pola ritme yang harus dibawakan sesuai dengan yang ditentukan. Komposisi ini menggunakan nada dasar C, dengan tempo allegro (100MM) dan memakai sukat 9/8. Komposisi ini berbentuk tiga bagian, yaitu AABCAAB, yang diawali dengan introduksi.
Analisis Lagu Toraja Marendeng Marampa Aransemen Tindoki Band Linesti Lamba; Ni Wayan Ardini; I Komang Darmayuda; Ketut Sumerjana
Journal of Music Science, Technology, and Industry Vol. 2 No. 2 (2019)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1013.655 KB) | DOI: 10.31091/jomsti.v2i2.865

Abstract

This study aims to describe the musical form of Marendeng Marampa'", a local song in Toraja, Tana Toraja Regency, South Sulawesi Province, Indonesia, arranged by the Tindoki Band. The qualitative data in this research are obtained by doing observation, interviews, documentation, and discography. The results of this research show that " Marendeng Marampa'" arranged by Tindoki Band have two parts, i.e. the form A-B, with the sequence A-A' A-A-A'-B-B-B" consisting of several figures, motives, phrases (antecedent phrase and consequent phrase). Its musical instruments used in this arrangement are collaboration between the traditional musical instruments in Toraja, including Toraja gandang, Toraja flute, basin bassin/tulali, karombi, and modern (Western) music, i.e. electric guitar, bass guitar, keyboard, and electric drums, which lyrics are incorporated into the arrangement of Ma'bugi and Manimbong. Marendeng Marampa'" means safe, peaceful land of birth and is also a unifying song for the people of Toraja. The song is a reminiscent for the people of Toraja to remind their home region that tondok kadadian is their land of birth.
The Uses of Gong Suling in Ngemban Rare Composition Visvam Bhara Prasad; I Komang Sudirga; Hendra Santosa
Journal of Music Science, Technology, and Industry Vol. 2 No. 2 (2019)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (848.062 KB) | DOI: 10.31091/jomsti.v2i2.866

Abstract

Komposisi Ngemban Rare yang menggunakan Gamelan Gong Suling ini menggambarkan kenangan masa kecil dengan berbagai sikap. Karya ini terinspirasi oleh seseorang yang merawat anak yang sedang menangis. Bahkan, saat ini sebagian besar orang tua mengajarkan hal-hal yang salah kepada anak-anak dengan memfasilitasi mereka sebelum mereka cukup dewasa sehingga membuat karakter anak menjadi tidak baik. Komposisi ini terdiri dari tiga bagian, yaitu menggambarkan suasana fenomena mengasuh anak-anak, mengasuh anak-anak dengan menyanyikan lagu-lagu anak-anak tradisional, mengajar anak-anak dan memperkenalkan budaya sejak usia dini, dan menanamkan disiplin dan karakter yang baik, agar tidak menyesal kemudian. Pembentukan ciptaan karya ini mengacu pada proses penciptaan karya seni yang diklarifikasi menjadi tiga tahap, yaitu tahap eksplorasi, tahap improvisasi, dan tahap pembentukan
Bentuk dan Makna Lagu Ida Sang Sujati Karya I Komang Darmayuda Alfin Syahrian; Ricky Irawan; Agustinus Sani Aryanto
Journal of Music Science, Technology, and Industry Vol. 2 No. 2 (2019)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (962.268 KB) | DOI: 10.31091/jomsti.v2i2.867

Abstract

The Balinese song Ida Sang Sujati (2016) performed by Bali Kumara singers was inspired by a moment when its composer I Komang Darmayuda was appointed as a music judge at Pesta Kesenian Bali (PKB) which located at Ardha Candra Open Stage. He was stunned by the idea of ​​the parade and the venue for the event which was being made for the governor of Bali Prof. Ida Bagus Mantra who served in 1978-1988. The problems of this research are (1) the musical form of the Balinese song Ida Sang Sujati by I Komang Darmayuda, (2) the process of making the Balinese song Ida Sang Sujati by I Komang Darmayuda, (3) the musical meaning contained in the Balinese song Ida Sang Sujati by I Komang Darmayuda. The method that being used for this research is qualitative, with data collection techniques through interviews, observation, documentation. The theory used to explore the problem is the theory of song form and structure analysis and the theory of meaning. Primary data sources were obtained from interviews and observations. Secondary data were obtained from books, journals, and internet sources
Strategi Pengelolaan Paduan Suara Perguruan Tinggi: Studi Kasus Paduan Suara Mahasiswa Universitas Palangkaraya Susiana Puspawatie
Journal of Music Science, Technology, and Industry Vol. 2 No. 2 (2019)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (728.423 KB) | DOI: 10.31091/jomsti.v2i2.868

Abstract

Universitas Palangkaraya Student Choir, Central Kalimantan, has won various achievements at some championships held locally and internationally. This student activity unit (unit kegiatan mahasiswa, UKM) has been established since 1996 and has changed its management department every year. The purpose of this study was to determine the management strategy of the choir that is managed in the student activity unit at the university. For this reason, the formulation of the problem proposed in this study is how to apply management strategies in the Universitas Palangkaraya Choir Student Activity Unit? The results showed that there were 14 important principles applied by the choir at Universitas Palangkaraya to maintain its sustainability and existence. Based on the SWOT analysis, UKM Choir of Palangkaraya University has strengths in the spirit of togetherness, fairness and honesty, as well as order and discipline.
Isu Perubahan Agraria dalam Lirik Lagu Populer Indonesia 1950-1980 Fuad Abdulgani
Journal of Music Science, Technology, and Industry Vol. 2 No. 2 (2019)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (666.595 KB) | DOI: 10.31091/jomsti.v2i2.869

Abstract

Indonesia is an agricultural country where the majority of the population lives from cultivating land, both in rather sophisticated and simple ways, and making a living from the produce of the earth. The picture can be said to be correct for, at least, until the last decade before entering the millennium era. If you look at Indonesia's macroeconomic statistics from 1961 to 2011, it will be seen a decrease in the presentation of the population working in the agricultural sector. Along with that, the number of people working in the industrial (manufacturing) sector is increasing. Significant improvement is most clearly seen in the service sector. So that in 2011 the number beat the population of Indonesia who worked in the agricultural sector. If the change in agrarian society is seen as a popular change for Indonesians - in the sense that the change is experienced by many people, occurs in a broad spatial scope and with a significant impact - the question is, how will the change in an agrarian society be captured and interpreted in the mind by artists and especially musicians who, I think, have a role as recorders of the age? To answer that question, the writer selected a number of popular Indonesian songs from the 1950s to the 1980s with poems containing pieces of agrarian change.
Roles and Responsibilities of Music Director: A Case Study of Radio Geronimo and Swaragama FM, Yogyakarta Guntur Eko Prasetyo
Journal of Music Science, Technology, and Industry Vol. 2 No. 2 (2019)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (558.257 KB) | DOI: 10.31091/jomsti.v2i2.870

Abstract

Artikel ini memfokuskan peran dan tanggungjawab seorang music director pada stasiun radio untuk memahami bagaimana peran, tanggungjawab serta cara kerja mereka di dalam industri radio. Radio Geronimo dan Swaragama FM di Yogyakarta, Indonesia, dipilih sebagai lokasi penelitian. Penelitian ini menggunakan metode kualitatif dengan pendekatan studi kasus. Temuan dalam penelitian ini adalah music director mempunyai hak penuh dalam menentukan musik yang akan mengudara di radio. Music director mengawasi berjalannya jenis-jenis dan macam musik yang diputar saat siaran berlangsung agar tidak keluar dari ketentuan dan visi misi yang telah dibuatnya. Yang paling penting dari itu adalah, pada dasarnya seorang music director dan radio ikut berperan dalam membentuk selera musik yang berkembang di masyarakat.
Meyer’s Approach on Musical Analysis and Its Relevance to Indonesian Analytical Study of Western Music Andre Indrawan
Journal of Music Science, Technology, and Industry Vol. 3 No. 1 (2020)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (911.858 KB) | DOI: 10.31091/jomsti.v3i1.959

Abstract

This critical review of Leonard Bunce Meyer's musical analysis theory is aimed at obtaining a basic understanding of an approach that seems uncommon in Indonesian studies of Western music. This study uses a speculative method with descriptive as well as critical approaches, where Meyer's analysis theory is depicted critically by conforming it toward Nicolas Cook's critical review which was based on the Shenkerian concept. The relevance application of this analysis model in the studies of musical form in Indonesia then is discussed. This study concluded that the psychological music analysis of Meyer was carried out by the foreground expectations of the tonal music linear and rhythmical analysis. Compared to the Shenkerian approach which gives greater attention to the harmonic reduction that focused on the harmonic background of tonal music, Meyer’s approach would be less practical in observing at large-scale musical structures. Meyer’s analysis would be valuable to the performers as well as music analysts if they also take into account their musical style concepts which mostly regarded as the area of aesthetic rather than technical analysis. For Indonesia, this method is appropriate for Master and Doctorate studies in Western Music.
Analysis of Besaman Music Rhythm Patterns Hardiansyah Ay
Journal of Music Science, Technology, and Industry Vol. 3 No. 1 (2020)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (825.018 KB) | DOI: 10.31091/jomsti.v3i1.960

Abstract

Besaman (bersaman) is a daily mention of the Gayo people for art activities which are currently only known as saman dance. saman is a traditional Gayo art which includes music, dance and literature. Within the elements of music, dance and literature have an equally important portion, in which each type of art takes place in mutualism, such as the motion of creating music, music (melodic form of song and poetic structure) is considered in creating the rhythm of motion. In the perspective of dance music, saman is a dance that uses a form of music presentation internally, internally what is meant is music that arises or is produced by the dancer itself (without accompaniment of music). Music in besaman is produced by clapping hands, chest, thighs, finger flicks and vocals. Clapping hands, chest, thighs and flick fingers form a choreography in the dance. The forms of song melodies and literary structures adjust and are also adjusted in creating a form of musical rhythm as well as dance moves. Therefore, the Gayo community calls this form of art activity with the plait not just dancing saman, because the three types of music, dance and literature take an equally important role in doing this art.

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