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Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik
Published by Universitas Negeri Padang
ISSN : -     EISSN : 26570599     DOI : https://doi.org/10.24036/musikolastika
Core Subject : Art,
Arts
Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik diterbitkan oleh Program Studi Pendidikan Musik Jurusan Sendratasik FBS UNP sebagai media untuk menyalurkan pemikiran dan hasil penelitian pada domain: (1) Pertunjukan Musik; (2) Pendidikan Musik; (3) Musikologi; dan (4) Etnomusikologi dalam format artikel penelitian, artikel telaah/studi literatur, laporan kasus, serta artikel konseptual atau kebijakan.
Arjuna Subject : Seni dan Humaniora - Musik
Articles 6 Documents
 1 
Search results for , issue "Vol 3 No 2 (2021)" : 6 Documents clear
Pengalaman Komunikasi Kelompok KLa Project dan Eksistensinya Selama 32 Tahun Nur Desilawati
Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik Vol 3 No 2 (2021)
Publisher : Program Studi Pendidikan Musik FBS UNP

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/musikolastika.v3i2.67

Abstract

The 1990s are considered a major force on fashion, music and screens. At that time, in Indonesia various bands were born, developed and reached a golden age. One of them is the KLa Project, which is still surviving until the age of 32. This study aims to determine the experience of group communication in the KLa Project band in an effort to maintain their existence for 32 years in the Indonesian Music scene. The method used is qualitative with a phenomenological approach. The research subjects consisted of the main research subjects, namely KLa Project personnel, namely Ignatius Bagaskoro Katon, Romulo Radjadin, Adi Adrian and Ahmad Ari Suharto. Supporting research subjects were also taken in this study, namely the crew and management of the KLa Project, as well as several other fellow musicians who are related to the KLa Project. The results show that communication between personnel in the KLa Project music group or band is the most important and fundamental thing. The group communication is also dynamic and there is a change in communication patterns during the early formation and journey of the KLa Project, namely from 1986-1987 to 2000, with the communication situation between personnel in 2001.
Proses Awal dalam Penghasilan Komposisi “Kelampan Bajang” dengan Mengadaptasi Struktur Musik Pop Suku Sasak Lombok Sapriadi Sapriadi; Chamil Arkhasa Nikko Mazlan; Affendi Ramli
Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik Vol 3 No 2 (2021)
Publisher : Program Studi Pendidikan Musik FBS UNP

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/musikolastika.v3i2.68

Abstract

The musical composition, entitled Kelampan Bajang, is the main narrative of the composition theme about the story of the journey of the young Sasak tribe which is semiotically depicted in three different times, namely morning, afternoon, and night. This composition emerged due to several phenomena found, including 1) there are no complete Sasak songs in transcripts and arrangements, 2) many musicians arrange songs in Sasak but often cause controversy in lyrics and music, 3) many talented young musicians cover repeating noname songs on several songs performed by many pop singers in Lombok, 4) many sasak pop songs but most of them do not represent local culture in terms of lyrics and music. This paper aims to explain the initial process of musical composition with the theme Kelampan Bajang including 1) Bekuliq, 2) Bekayaq, 3) Matur Tampiasih, 4) Sepi Alam Dese, 5) Lalo Midang, and 6) Merariq. All song lyrics are written in the Sasak language. The research uses the autoethnographic method to discuss the problem, how the idea of ​​creating musical compositions can be aligned with the diversity of musical culture in Lombok. After conducting an in-depth study, the author concluded that in order to create a compositional work that could represent regional culture and not cause controversy among the public, namely 1) the author inserted an exploration of the pelog and slendro melodic motifs in the vocal melody section as regional identity, 2) the author inserted the motif the melodies of pelog and slendro in the musical arrangement section, and 3) the author uses good and correct local language lyrics that are in accordance with the regional culture in Lombok.
Aransemen Ansambel Woodwind Sebagai Identitas Orkes Keroncong Gita Puspita di Tegal Meizan Riza Arhamni; Abdul Rachman
Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik Vol 3 No 2 (2021)
Publisher : Program Studi Pendidikan Musik FBS UNP

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/musikolastika.v3i2.69

Abstract

The Keroncong Orchestra Gita Puspita Orchestra is one of the Keroncong Orchestras that has a place in the hearts of the people of Tegal Regency. This happened not instantaneously, Keroncong Orchestras Gita Puspita has always been in the process of working and being creative so that he managed to get a place in the hearts of the people of Tegal Regency, especially teenagers. One of the uniqueness of Keroncong Orchestras Gita Puspita is the use of woodwind ensembles for Keroncong music, where this kind of collaboration has never existed before in the Tegal district. This study aims to describe the use of woodwind ensembles in Keroncong music by Keroncong Orchestras Gita Puspita in Tegal. This study uses a qualitative method with a music analysis approach, data collection through observation, interviews, and documentation studies. The results showed that the use of the woodwind ensemble on Keroncong Orchestras Gita Puspita is quite important in composition, because the woodwind ensemble functions as an accent filler, filler, blocking note, and melody note, this is what makes the woodwind ensemble have an important role in every Keroncong Orchestras Gita Puspita arrangement
Metode Pembelajaran Jarak Jauh Pada Mata Kuliah Gitar Klasik Lampung Pepadun di Prodi Pendidikan Musik, Fakultas Keguruan Ilmu Pendidikan, Universitas Lampung Erizal Barnawi; Afrizal Yudha Setiawan
Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik Vol 3 No 2 (2021)
Publisher : Program Studi Pendidikan Musik FBS UNP

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/musikolastika.v3i2.70

Abstract

The difficulties in learning the Lampung Pepadun Classical Guitar practice are caused by several factors, including; 1) the learning process is not guided directly by trainers who are experts in their fields; 2) many students of the Music Education study program are not yet able to read block notation in the form of songs; 3) some students do not have the skills to play guitar with the correct technique. The long-term goal in learning Lampung Pepadun Classical Guitar is that students are able to become agents of change in preserving the art of Lampung Pepadun Classical Guitar and become pioneers in developing and creating music, both contemporary music and creative music. The specific target to be achieved in this research is the creation of a new teaching pattern in the field of Lampung traditional music, namely learning by using several applications and distance learning methods in accordance with the concept of learning. Several online learning methods have been applied using various applications such as Youtube, MP3, and Sibelius. Online learning is learning that is carried out without face to face directly, using smartphone/gadget/laptop devices, and video conferencing platforms as a space for the learning process to take place. However, the seven learning components which include teachers/lecturers, students, objectives, materials, methods, media, and evaluation must remain an integral component of online learning, which will be integrated in achieving learning objectives
Strategi Personal Branding Musisi Pop Jawa Melalui Media Sosial Dadang Dwi Septiyan
Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik Vol 3 No 2 (2021)
Publisher : Program Studi Pendidikan Musik FBS UNP

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/musikolastika.v3i2.73

Abstract

Advances in information technology and social media are now increasing. This makes it easier for anyone to form a personal brand through social media. Having an attractive identity is a must for a musician, whether it's self-identity or work identity. The purpose of this study is to find out and understand the personal branding strategy of musicians through social media. This study uses qualitative methods with data collection techniques, namely interviews and observing the documentation they have and conducting a literature review. The data obtained were then analyzed using analytical techniques, namely sorting out data, reducing data, summarizing, and presenting data. The findings of this study are that the personal branding strategy of musicians through social media, especially Instagram, uses indicators consisting of 7 classifications borrowed from Mateusz Grzesiak's concept. The results of the study stated that the personal branding strategy carried out by several samples of musicians had values, characters, goals, methods, dialectics, visualizations, media, awareness levels, challenges, cultural models, and strategies each through Instagram media and in their daily lives.
Metode ARTS Sebagai Upaya Meningkatkan Keterampilan Solfegio Mahasiswa Prodi Pendidikan Musik di Jurusan Sendratasik FBS Universitas Negeri Padang Jagar Lumbantoruan
Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik Vol 3 No 2 (2021)
Publisher : Program Studi Pendidikan Musik FBS UNP

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/musikolastika.v3i2.76

Abstract

This study aims to describe the ARTS method as an effort to improve the solfegio skills of music study students in the Department of Drama, FBS, Padang State University. This research is a quasi-experimental research using descriptive analytic approach. The results of the study found that applying the four stages in the ARTS method could improve Solfegio skills, namely: (1) the preparation stage, namely designing the subject matter. (2) Presentation stage, namely the explanation of the concept of rhythm, interval, melody, and transfiguration of note units. (3) Practice stages or exercises, namely Audio, Reproduction, Transcription, and Sight-reading/ Sight-singing exercises. (4) Stages of performance, namely assessment. This research is expected to be a guide in learning solfegio, both at the elementary and tertiary levels

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