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Tambur : Journal of Music Creation, Study and Performance
Published by Institut Agama Kristen Negeri Kupang
ISSN : 27981576     EISSN : 2798155X     DOI : https://doi.org/10.52960/jt.v1i2
Core Subject : Religion, Humanities, Education, Art,
Religion Arts Humanities Education
Hakikat tambur selaras dengan ritme musikal orang Indonesia. Alat musik tabuh ini tersebar di seluruh  nusantara, tentunya dengan keberagaman organology masing-masing daerah.  Gerakan ritme tabur mencerminkan ritme nusantara, ritme yang sangat cepat hingga lambat . Kekhasan ini teramati sebagai sebuah fenomena di bumi FLOBAMORA. Kearifan musikal terlihat dalam penggunaan tambur di hampir semua etnik, tentunya dengan ragam yang berbeda. Teknik permainan tabur juga beragam bisa menggunakan bilah tongkat atau diapit dan dimainkan dengan tangan. Hasil cipta ritmis yang baik pula, dapat dipadupadankan dengan berbagai alat musik. Keragama fenomena inilah yang dipilih menjadi penamaan ‘TAMBUR’ jurnal  ilmiah penciptaan, pengkajian dan penyajian musik.
Arjuna Subject : Umum - Umum
Articles 5 Documents
 1 
Search results for , issue "Vol. 1 No. 1 (2021): June" : 5 Documents clear
Proses Penciptaan Komposisi Musik “PEDHOT” untuk Violin dan Piano karya Eki Satria Eki Satria
Tambur : Journal of Music Creation, Study and Performance Vol. 1 No. 1 (2021): June
Publisher : Institut Agama Kristen Negeri Kupang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.52960/jt.v1i1.27

Abstract

This study aims to describe the process of composing music composition through empirical ideas. The author highlights an incident that is often encountered in a concert or string instrument recital, especially the violin, which is an incident in the form of breaking a string during a performance. From this observation, the author has the idea of ??composing a musical composition where the breaking of the strings becomes a conceptual part of a performance. The research method used is a qualitative method with a descriptive approach through three stages, namely literature study, observation and experimentation. In the process, the realization of the breaking of the strings in this composition is found at the end of the codetta as the closing of the work. Meanwhile, creative processing which is carried out based on the word "Pedhot" (break) itself, is used in the arrangement of musical forms that are arranged intermittently, namely from one semifrase to the next semifrase in stages until the entire semifrase is composed completely. The purpose of this study is to determine the creative process in composing "Pedhot" musical compositions, as well as being one of the references and information on how the process of a musical composition is created. Although music composition is closely related to its subjectivity, writing it in a scientific article will bring a musical composition to the area of ??objectivity based on scientific corridors.
ANALISIS BENTUK DAN TRUKTUR NYANYIAN ODE TO JOY KARYA LUDWIG VAN BEETHOVEN Philby Tafuakan
Tambur : Journal of Music Creation, Study and Performance Vol. 1 No. 1 (2021): June
Publisher : Institut Agama Kristen Negeri Kupang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.52960/jt.v1i1.31

Abstract

Based on the results of the research conducted, it can be concluded that this study aims to determine the shape and musical structure of the Ode To Joy song. Song of Ode To Joy (English Version) or in its original title An die Freude is part of Symphony No. 9 in D Minor, Opus 125 which is the last symphony work of Ludwig Van Beethoven. The songs in this symphony basically give a meaning about freedom, brotherhood, joy, brotherhood among human beings and an expression of gratitude to God. Overall, Symphony No. 9 in D Minor, Opus 125 begins its long introduction with a d minor progression and ends with a D major chord progression. We know that chord progressions also represent the expression of the composer's feelings. The minor chord generally expresses feelings of sadness or suggests sad and dark conditions, while the major chord expresses feelings of happiness and joy as well. The composer also expressed the meaning of freedom through dynamic play, change of interest, and chord progression. Symphony No. 9 in D Minor, Opus 125 has four moves by making Chord D a tonality. The introductory part of the fourth movement is basically a repetition of the I-III movement which symbolizes brotherhood and unity. The songs in this symphony also have three major themes in the exposition, development and recapitulation of this Symphony as a whole consisting of 937 bars.
MERAYAKAN KEHIDUPAN, MERAYAKAN KEBERAGAMAN: STUDI LITURGI DAN PENYAJIAN MUSIK KREATIF KONTEKSTUAL DALAM PERAYAAN HARI ULANG TAHUN REPUBLIK INDONESIA DI JEMAAT BETLEHEM OESAPA BARAT Appris Yulianto Saefatu
Tambur : Journal of Music Creation, Study and Performance Vol. 1 No. 1 (2021): June
Publisher : Institut Agama Kristen Negeri Kupang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.52960/jt.v1i1.32

Abstract

This paper aims to understand how to compose a liturgical form and a creative and contextual musical arrangement in church services. This study aims to produce a creative, contextual form of liturgical and musical accompaniment arrangements in church worship. The method used in this study is a qualitative description. This research is collaborative in nature by involving the congregation as a collaborator. In this study, the researcher took an action after the process of observing the reality of the liturgical form and accompanying music in the church environment, then the result of this study was that the researcher created a creative contextual form of liturgy and music in the celebration of the 73rd Indonesian Independence Day in the Bethlehem Congregation. Oesapa West
Aransemen Nyanyian Kebalai dalam Format Paduan Suara Campuran dengan Iringan Musik Etnis Rote Ndao Agnes Emalisa
Tambur : Journal of Music Creation, Study and Performance Vol. 1 No. 1 (2021): June
Publisher : Institut Agama Kristen Negeri Kupang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.52960/jt.v1i1.34

Abstract

This study aims to describe the arrangement of a kebalai song in the form of a mixed choir along with ethnic Rote Ndao music accompaniment. This research use desciptive qualitative approach. The research data were obtained by means of; 1) Observation, 2) Interview (Interview), 3) Documentation. The tools used are in the form of interview guidelines, field notes, and sibelius as a presentation application. Music analysis is carried out in several stages; 1) selecting the work to be arranged, 2) processing the work (vocal arrangement and instrument arrangement), 3) orchestration and 4) presentation of the arrangement. The validity test uses triangulation sources and data collection. The results showed that the arrangements made were different from the original singing, but were still in a simple form and easy to hear with pop music styles, there was a development in vocal music both in harmony and musical style and for accompaniment there was development in rhythm, melody and alteration patterns. on a chord. The tempo used is moderate from the beginning then after the bridge there is a change in tempo. The form of presenting the kebalai song arrangement is to use sibelius. Vocals use soprano, alto, tenor and bass while the instruments used consist of one melodic instrument and three rhythmic instruments, namely Sasando, gong, drum and cymbal.
ARANSEMEN MUSIK PENGIRING NYANYIAN LITURGI JADI SAKSIMU ETNIS ALOR-PANTAR DI PROVINSI NUSA TENGGARA TIMUR Hendrik Lenama
Tambur : Journal of Music Creation, Study and Performance Vol. 1 No. 1 (2021): June
Publisher : Institut Agama Kristen Negeri Kupang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.52960/jt.v1i1.35

Abstract

The song of the Alor-Pantar inculturation workshop is a liturgical worship song that reflects the music and culture of Alor-Pantar. In May 2002 in Kalabahi there was an ecumenical collaboration between an evangelical Christian church in Timor and the liturgical music center in Yogyakarta. The musical accompaniment of the workshop songs used traditional musical instruments from Alor Regency, namely Gong, Tambur and added with piano instruments to determine the basic tone of the song and provide melody and harmonization to the song. Gong and drum instruments are traditional musical instruments from Alor district which are usually used to accompany traditional dances, pick up guests, demolish traditional houses and other traditional events. The character of the gong musical instrument is enthusiastic, builds an atmosphere of joy and joy. Gong Alor is played by striking, each gong has a different rhythmic pattern, but when combined or beaten simultaneously, it will sound so beautiful and make the atmosphere cheerful. Gong Alor is a melodic rhythmic musical instrument, but has a rhythmic function. Based on the description above, the writer wants to arrange music accompaniment to the Alor-Pantar inculturation workshop song with traditional musical instruments from Alor, namely Gong, Tambur and added with modern musical instruments, namely the piano. This musical accompaniment arrangement is poured into a thesis entitled "Music Arrangement to Accompany the Chanting of the Liturgy to Become Your Witness of the Alor-Pantar Ethnicity in East Nusa Tenggara Province".

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