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Repertoar Journal Prodi Seni Musik Jurusan Seni Drama, Tari dan Musik Fakultas Bahasa dan Seni (FBS) Universitas Negeri Surabaya Gedung T14 Lantai 2 Kampus UNESA Lidah Wetan Surabaya 60213 Jawa Timur - Indonesia email : repertoarmusik@unesa.ac.id
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Kota surabaya,
Jawa timur
INDONESIA
Repertoar Journal
Published by Universitas Negeri Surabaya
ISSN : -     EISSN : 27461718     DOI : -
Core Subject : Humanities, Art,
Arts Humanities
Repertoar is a periodical scientific journal dedicated to publishing papers and research works in the field of music. This journal includes research articles along with ideas, which fall into the scope of: 1. Music 2. Music Works 3. Ethnomusicology 4. Music Therapy 5. Film Music 6. Digital Music
Arjuna Subject : Seni dan Humaniora - Musik
Articles 187 Documents
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Music Sampling On A Keyboard Arranger For A Solo Organ Player Of Dangdut Music In Lumajang Ilham Maulana, Muhammad
Repertoar Vol 6 No 1 (2025)
Publisher : Universitas Negeri Surabaya

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Abstract

This study aims to: (1) analyze the sampling production process on arranger keyboards for single organ players of dangdut music in Lumajang Regency and (2) analyze the application of sampling on arranger keyboards. This study uses a descriptive qualitative method with data collection techniques through interviews, observation, and documentation. The results show that (1) the sampling production process consists of three main stages, namely pre-production (technical preparation and sound setting), production (recording, editing, mixing, and multisampling), and post-production (mastering and format conversion). These stages ensure optimal sound quality and provide flexibility for musicians in creating distinctive musical characters; (2) sampling is applied by converting the sampling results into a format recognized by the keyboard system, such as .WAV and .KMP. Sampling is applied through two methods: looping to produce style and sequencer for song play. With the features available on Korg Pa 600, musicians can apply sampling more easily and remix to harmonize with other instruments.
A Review of the Structure and Meaning of the Song Dendang Dikideng by Alfred Gare ft Pax Group Afrilianus, Mastodius
Repertoar Vol 6 No 1 (2025)
Publisher : Universitas Negeri Surabaya

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Abstract

 Dendang Dikideng is a song originating from the city of Maumere, Sikka district, East Nusa Tenggara. This song was created by Alfred Gare and composed together with the Pax group. The purpose of this research is to find out the song structure in the form of motifs, phrases, and periods, as well as the meaning of this song. This research was conducted using a descriptive qualitative method. The research was conducted at the researcher's house, music reading room, St Gabriel Maumere High School, Sikka Regent Office and Banyu Urip, lor. The subjects in this research are Alfred Gare and the Pax Group. Sources of research data were obtained through informant interviews, observation, and documentation. Data analysis techniques are data reduction, data presentation, and conclusion. The results in this study are the structure of the song Dendang Dikideng, opened with an Intro, verse 1, verse 2, and a reff, after the reff continued with folk song singing and repeated the reff, an interlude, verse 2, a reff, continued with folk song singing, a reff, and closed with an outro. The song Dendang Dikideng is divided into three parts, namely part A, part B, and part C. Each part consists of motifs that then form a motive that is then formed into a song. Each part consists of motifs that then form a phrase and period. This song tells about culture and as a medium of self-identity of the people of East Nusa Tenggara (FLOBAMORA), who, on average, have dark skin
Children's Song Trio As A Form Of Controlling Gadget Use In Children Tiantaraputra, Riosa Oktaf
Repertoar Vol 6 No 1 (2025)
Publisher : Universitas Negeri Surabaya

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Abstract

Art research represents the diversity of perspectives that come from the art disciplines of each practitioner as an effort to continue to establish the principle of usefulness. Looking at the younger generation, especially children who from time to time experience changes in learning patterns to parenting patterns, art is considered capable of strengthening these patterns in order to maintain a balance so that relatively minor impacts occur. This includes the use of technology by children, which tends to be less wise, thus risking affecting their future. Technology, in this case, gadgets, has become an important tool to support children in learning. However, the use of gadgets in children is often uncontrolled due to a lack of parental supervision, so that negative impacts are very likely to occur. This control effort starts from qualitative analysis and quantitative data collection in the form of questionnaires distributed to respondents of elementary school children. Based on these efforts, valid data was found, and an agreement was made to make children's songs a tangible manifestation of efforts to control the use of gadgets in children. Children's songs are expected to be an important part of the success of a civilisation, so that children's participation continues to be optimal without being tainted by the negative impact of gadgets.
Marketing Strategy for the Song "Tell Me" by Saladdays Iqbal Ahdalino, Mahatma
Repertoar Vol 6 No 1 (2025)
Publisher : Universitas Negeri Surabaya

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Abstract

This research aims to describe the arrangement of the song "Tell Me" and how Saladday's marketing strategy was carried out in marketing the song "Tell Me." This research uses a descriptive qualitative approach to identify and answer problem formulations related to arrangement data and marketing strategies. The data analyzed is the song "Tell Me". Researchers perform data analysis techniques: data reduction, data presentation, and conclusion drawing. This research results in the song "Tell Me" using C# Major tonality with allegro tempo and 4/4 time. The harmony or chords used are extended chords, where there are no triadicelements, and there is only harmony with four or more notes giving rise to chords 7, 9, 11, or 13. The overall musical structure of this song is Intro - Verse 1 - Pre Chorus - Chorus - Interlude - Verse 2 - Chorus - Coda. Then, the chord progression in the central theme of this song is IV - V - VI - V - I. Furthermore, the marketing strategies applied by Saladdays are distribution on the Spotify and Apple Music streaming platforms, pre-release campaigns, distribution on the YouTube platform, and live performances.
Production Management Strategy of the Music Group Interactive by CV. Maska Music Digital Oktaviyandri, Adelfia
Repertoar Vol 6 No 1 (2025)
Publisher : Universitas Negeri Surabaya

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Abstract

Maska Music Digital is a management company founded by Septian Dwi Ratri (25 years old) in 2013. Then, in 2019, Maska Music Digital management formed a music group, Music Interactive, and developed it into a CV (Comannditaire Vennootschap). Maska Music Digital. The purpose of this study is to analyze the production management strategy of the Music Interactive group by CV. Maska Music Digital and analyze the obstacles and solutions to the management strategy. This research uses descriptive qualitative methods like observation, interview, and documentation techniques. Data analysis is done by reducing data, presenting data, and drawing conclusions, then discussing management theory and analyzing constraints and solutions using SWOT analysis—data findings related to implementing the Music Interactive group production management strategy by CV. Maska Music Digital includes planning, management, implementation, and Evaluation in music production, content production, and content publication of the Music Interactive group, as well as analyzing obstacles and solutions through SWOT analysis. CV. Maska Music Digital can produce music production, content production, and content publication for the Music Interactive group well and professionally.
The Presentation Form, Function, and Meaning of the Ma’badong Tomakaka Music Lyrics in the Rambu Solo Ceremony of the Toraja Tribe Brigita, Clara
Repertoar Vol 6 No 1 (2025)
Publisher : Universitas Negeri Surabaya

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Abstract

This research aims to describe the form of presentation, function, and meaning of Ma'badong Tomakaka music verses in the Rambu Solo traditional ceremony of the Toraja tribe. This research uses a descriptive qualitative method with an ethnomusicology approach. Data collection techniques include direct observation, interviews with sources, documentation, and literature study. Data analysis was done through data reduction, presentation, and conclusion drawing. The results showed that Ma'badong music is a traditional vocal art performed without musical instrument accompaniment in melting at formation. The singers are called Pa'badong. Ma'badong performances are held in open areas such as fields or courtyards during the day and night. A red and black shirt or t-shirt top using a Toraja woven sarong is the costume often used for Ma'badong performances. The gradual procession starts from Ma'tabe, Issi, to Ma'passundun. This music serves as a medium of ritual, entertainment, cultural identity, means of communication, and aesthetic expression in Toraja society. The poetry of Ma'badong or Kadong Badong contains deep meanings, such as moral messages, expressions of grief, prayers for the spirits to the afterlife, and hopes for the families left behind.
Reggae Arrangement and Structure of Uncle Djink's "Kemesraan" Arosicha Margusviana, Dea
Repertoar Vol 6 No 1 (2025)
Publisher : Universitas Negeri Surabaya

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Abstract

Music has been a part of life all along. In people's lives, music becomes a means of entertainment and a form of self-expression. In its development, each piece of music has characteristics and several types or genres that fit the tastes of all people.This research aims to analyze the song form and arrangement structure of the reggae version of Kemesraan by Uncle Djink. This research was conducted through a qualitative approach. The object studied is the form and arrangement of the Reggae Version of Kemesraan by Uncle Djink. The results of this research can be concluded as follows: The song form of Kemesraan by Reggae Uncle Djink uses the Big Band format in its arrangement. The instrument format is found in the writing of the song Kemesraan by Reggae Uncle Djink in full score. The arrangement structure of the Reggae version of the song "Kemesraan" by Uncle Djink has 110 beats and uses the basic scale A. In addition, the tempo chosen is 85 bpm, or, from the classical point of view, it is called Andante. The format used in the song "Kemesraan" Uncle Djink The genre applied to the song "Kemesraan" Uncle Djink is the Pop Reggae genre.

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