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Dhani Kristiandri
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dhanikristiandri@unesa.ac.id
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repertoarmusik@unesa.ac.id
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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 216 Documents
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The Kuntulan Art of the Cendono Arum Group in Banyuanyar Village, Banyuwangi Regency: A Study of Performance Forms and Functions Donna Mirza Zamzama Salsabilla
Repertoar Vol 7 No 1 (2026)
Publisher : Universitas Negeri Surabaya

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Abstract

Cendono Arum is a traditional kuntulan art group based in Banyuanyar Village, Kalibaru Subdistrict, Banyuwangi Regency. The group’s uniqueness lies in its use of the Madurese language in the lyrics of its marching songs, which reflect the everyday language of the local community. Additionally, its performance style—which incorporates innovations in musical arrangements, costumes, stage design, and lighting—is a major draw for audiences. This study aims to examine the performance style and the social and cultural functions of the Cendono Arum Kuntulan performance. The research employs a qualitative method with data collection techniques including observation, interviews, and documentation. These data collection techniques were conducted directly by the researcher to obtain comprehensive data. The data were analyzed through the stages of data collection, reduction, and presentation. The results of the study indicate that Cendono Arum performances serve not only as entertainment but also as a medium for cultural preservation, a reinforcement of local identity, and a means of building social relationships within the community. The existence of this group demonstrates that traditional art remains relevant and plays a vital role in the local community.
Analysis of the Digital Recording Process for the Song “Ngemodhi Lalampa” By Kasokan Hamim Afrian Nurcahyadi
Repertoar Vol 7 No 1 (2026)
Publisher : Universitas Negeri Surabaya

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Abstract

Kasokan is an art community that introduces the refined culture of Madura through music, poetry, and clothing with religious elements that are in harmony with Madura, which is famous for its religiosity. The Kasokan community has produced songs, one of which is “Ngemodhi Lalampa,” which they recorded using home recording equipment. This study aims to analyze the recording process carried out by the Kasokan community, including the types of equipment used, obstacles encountered during the music recording process, and the smart solutions applied. This study uses a descriptive qualitative approach with data collection methods through observation, interviews, and documentation. The findings show that the recording process was carried out in stages using limited equipment, referring to the theory of the recording process and recording equipment. Despite facing various technical limitations, the Kasokan community was still able to carry out the recording process well and produce quality work.
The Effect of Listening to Dangdut Koplo Music on Increasing Worker Productivity at Al Firdaus Production in Trawas Village Muhammad Ikhwan Zulfikar Fahmi
Repertoar Vol 7 No 1 (2026)
Publisher : Universitas Negeri Surabaya

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Abstract

This study analyzes the effect of listening to dangdut koplo music on increasing worker productivity at Al Firdaus Production in Mojokerto. The study was motivated by the phenomenon of work burnout caused by repetitive tasks that hinder the achievement of production targets. The theoretical framework used is Adam Smith’s Theory of Efficiency, which posits that work output is optimized in a conducive environment. The research method employed a simple experiment using a One-Group Pretest-Posttest design involving 11 respondents. Data were collected through observation, documentation, and in-depth interviews. The results showed that in the condition without music (pretest), average production was only 7.09 units/day (total of 78 pieces). After the dangdut koplo music intervention (posttest), average production increased significantly to 9.27 units/day (total of 102 pieces). Analysis indicated a 30.77% increase in productivity. Interview results confirmed that dangdut koplo music serves to lift mood and drive the work rhythm. The study’s conclusion demonstrates that dangdut koplo music significantly improves work efficiency by minimizing burnout without increasing working hours.
"Road to 10 Years Brotherground" Concert by Grounderz in Surabaya: A Review of Management Practices Leli Mayalingga
Repertoar Vol 7 No 1 (2026)
Publisher : Universitas Negeri Surabaya

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Abstract

This study aims to analyze the management of the “Road to 10 Years Brotherground” concert by Grounderz in Surabaya, as well as audience responses. The method used was descriptive qualitative research through observation, interviews with the organizers and 50 audience members, and documentation. The results show that the organizing committee implemented management functions, including planning, organizing, directing, and controlling. Planning encompassed determining the concept, lineup, budget, ticket prices, and promotional strategies, while a clear division of tasks supported coordination during the event. Control was exercised to ensure proper execution and to serve as a basis for evaluation. Although the target audience was not reached due to location-related factors, the concert still received a positive response. Based on the Stimulus-Organism-Response (SOR) theory, the majority of attendees were satisfied and expressed interest in attending the next concert. These findings indicate that Brotherground’s strength lies in the consistency of its concept and its close connection to the extreme music community.
Composition and Arrangement Style of Modern Gospel Music: A Musicological Study of the Song "Kunaikkan Syukurku" by NDC Worship Mathias Diasmara Arfeni; Irfanda Rizki Harmono Sejati
Repertoar Vol 7 No 1 (2026)
Publisher : Universitas Negeri Surabaya

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Abstract

Modern gospel music in Indonesia is growing rapidly, alongside the increasing production of contemporary worship works that meet high musical standards. NDC Worship's song "Kunaikkan Syukurku" has been viewed more than 17 million times on YouTube and listened to more than 12 million times on Spotify. However, no systematic academic study has examined its composition and arrangement. This study aims to describe the compositional technique and analyze the characteristics of the modern gospel music arrangement in the song, especially in the Reimagined version. The method used is a qualitative descriptive analysis approach grounded in musicology, using auditory transcription, score observation, document study, and practitioner interviews, with source triangulation as a data validity technique. The results showed that this song was built on the form of two parts (A–B) with 19 beats, developed through sequencing techniques, literal repetition, and interval enlargement, and dominated by deceptive cadence and intense syncopation. The Reimagined version evolved into an 11-part structure with extended chords, a brass section, call-and-response, and harmonic flexibility typical of modern gospel. The research concludes that modern gospel identity is embedded from the basic compositional stage to the final arrangement layer, and that the arrangement's creativity extends beyond the written record.
Negotiating Power Relations of African-American Women Musicians in the Jazz Scene of the 1920’s to the 1960’s Andi Alexander
Repertoar Vol 7 No 1 (2026)
Publisher : Universitas Negeri Surabaya

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Abstract

African-American women whose jazz musicians constitute a double minority, facing gender and racial discrimination in their creative process. Social conditions from the 1920s to the 1960s were heavily dominated by masculinity and the European-American majority, which dictated existing social values. This study aims to uncover the struggles of African-American women jazz musicians to negotiate the social, cultural, and political structures that limited their participation in the jazz music scene, based on Bourdieu's field of struggle perspective and various gender theories. The research method uses a qualitative approach through a literature review utilizing various written historical sources. The results show that African-American women jazz musicians were able to build significant positions and contributions through social, symbolic, and cultural capital both in musical practice and within community networks. The presence of alternative spaces such as jam sessions, churches, and community groups became important means for the exchange of knowledge and the formation of solidarity among African-American women jazz musicians. Further research could delve deeper into the negotiation of power relsations between women jazz musicians who constitute a double minority in other regions and eras.

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