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Zamrud Whidas Pratama
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jurnalmebang@gmail.com
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+6282221778818
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jurnalmebang@gmail.com
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Jl. Ki Hajar Dewantara, Gunung Kelua, Kec. Samarinda Ulu, Kota Samarinda, Kalimantan Timur, Indonesia, 75123
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Kota samarinda,
Kalimantan timur
INDONESIA
Jurnal Mebang
Published by Universitas Mulawarman
ISSN : 27763919     EISSN : 27762513     DOI : https://doi.org/10.30872/mebang
Core Subject : Humanities, Art,
Arts Humanities
Jurnal Mebang: Kajian Budaya Musik dan Pendidikan Musik is academic, open access, peer-reviewed journal founded and first published in 2021 by the Department of Ethnomusicology, Faculty of Cultural Studies, Mulawarman University. Issues are published two times a year in April and October. Jurnal Mebang: Kajian Budaya Musik dan Pendidikan Musik contains the results of music research, such as ethnomusicology; music performance art; music creation and research; and music education.
Arjuna Subject : Seni dan Humaniora - Musik
Articles 5 Documents
 1 
Search results for , issue "Vol. 1 No. 1 (2021)" : 5 Documents clear
Gagrak Blitaran: Proses Belajar Kebudayaan di Paguyuban Turonggo Budoyo Mugirejo Yulinanda, David Bagus; Vivian, Yofi Irvan; Setyoko, Aris
Jurnal Mebang: Kajian Budaya Musik dan Pendidikan Musik Vol. 1 No. 1 (2021)
Publisher : Program Studi Etnomusikologi, Fakultas Ilmu Budaya, Universitas Mulawarman

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (367.424 KB) | DOI: 10.30872/mebang.v1i1.1

Abstract

Turonggo Budoyo Mugirejo is a Kuda Lumping group Gagrak Blitaran in the city of Samarinda through the transmigration process. Gagrak Blitaran, on its own, was the identity of this group. The process of learning culture alone played a crucial role in preserving Kuda Lumping Gagrak Blitaran in Samarinda. This study aims to explain the characteristics of Gagrak Blitaran’s music; describe the process of self-study at the Turonggo Budoyo Mugirejo. The study employs qualitative methodologies by applying three phases, some of which define the location of research, data collection techniques, and analysis. Determination of the location aims to focus on the object of research. Data-collection techniques include library studies, informers, interviews, and documentation. The last one is the analysis technique by utilising field data. The study results in accord with the background of the problem and the purpose of the study. Gagrak Blitaran’s music characteristic have been achieved through the four rhythms of sampak, gangsaran, dua-satu (pegon and dangdutan), and satu-satu. The instruments on which these rhythms are based are the kenong, kempul, gong suwukan, and gong ageng. The process of learning its own culture includes internalisation, socialisation and enculturation. The three processes allow each member of the company to have a deeper understanding of Kuda Lumping. It involves a dance technique, beating the Gamelan according to the characteristic of Kuda Lumping Gagrak Blitaran.
Fungsi Daak Maraa’ dalam Upacara Hudo’ Kawit pada Masyarakat Suku Dayak Bahau di Kota Samarinda Fajriansyah, Achmad Ali; Vivian, Yofi Irvan; Pratama, Zamrud Whidas
Jurnal Mebang: Kajian Budaya Musik dan Pendidikan Musik Vol. 1 No. 1 (2021)
Publisher : Program Studi Etnomusikologi, Fakultas Ilmu Budaya, Universitas Mulawarman

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (565.007 KB) | DOI: 10.30872/mebang.v1i1.2

Abstract

Daak maraa’ was presented in the context of the traditional activities of the Dayak Bahau tribe community that carried the ritual. Problems related to social aspects when daak maraa’ 'is not implemented, so it raises the assumption of how important daak maraa’ is for the Dayak Bahau people. This study aims to: explain the musical structure of the Hudo’ Kawit ceremonies held by the Dayak Bahau people in Samarinda; describe the function of daak maraa’ presented at the Hudo’ Kawit ceremony for the Dayak Bahau community in Samarinda. This research uses a qualitative methodology by applying observation techniques, data collection, and data analysis. Observation techniques include the object of research that is the focus of research. Data collection techniques are based on literature study, informants, interviews, and documentation. Analysis techniques by reducing data and concluding. Research results in accordance with the background of the problem and objectives. The musical structure and function have a connection, that the application of rhythmic sound daak maraa’ is presented as a accompaniment to rituals and prayers. The application of daak maraa’ is actualized with a static rhythm, namely: (a) sukat 4/4; (b) tempo (andantino) 78-83; (c) motive (literal); (d) dynamics (forte); (e) timbre (teng, pliers, tung, and dung). The research findings contain a value that the function of daak maraa’ is present and applied as an anticipation goal on the basis of the potential for bad sound (yog) which can come to disrupt and cancel the traditional ceremonial activities. Yog is believed to exist by the Dayak Bahau tribe based on legend over folk prose stories that are thought to have taken place in the real world and are bad (magi).
Ornamentasi Vokal pada Tarsul Kutai Kartanegara Pratama, Zamrud Whidas; Setyoko, Aris; Arozaq, Fikri Yassar
Jurnal Mebang: Kajian Budaya Musik dan Pendidikan Musik Vol. 1 No. 1 (2021)
Publisher : Program Studi Etnomusikologi, Fakultas Ilmu Budaya, Universitas Mulawarman

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2926.3 KB) | DOI: 10.30872/mebang.v1i1.3

Abstract

One form of singing or chanting spread through cultural needs is a traditional song originating from Kutai Kartanegara called tarsul. This study aimed to obtain data about what vocal ornaments are contained in the Kutai tarsul. The theory used in this research is the theory of music presentation forms, ornamentation, and western music vocal techniques. A qualitative descriptive study was chosen by prioritizing the musicology approach. The data was collected by (1) literature study, (2) observation, (3) interviews, (4) documentation. The stages in analyzing data are (1) data reduction, (2) data presentation, (3) historiography writing, and (4) conclusions. Data clarification was again carried out using data triangulation techniques. The results showed two kinds of tarsul rhythms commonly used by petarsul, namely tarsul with one rhythm (low) and tarsul with a rhythm of two (high). In Kutai Kartanegara's tarsul, there are several ornaments. Many melismatic ornaments are found at the end of the melody of each part of the tarsul sentence. There are three forms of melismatic ornamentation named for easy classification: melismatic ornament A, melismatic ornament B, and melismatic ornament C. Apart from melismatic ornamentation, there is symbolic ornamentation on tarsul, namely trill ornamentation. Next is the morden ornamentation. More specifically, lower mordent ornamentation was found. Lastly is the use of grupetto ornamentation. From the transcription and tarsul analysis of rhythm patterns 1 and 2, it was found groupetto reverse turn ornamentation.
Dekonstruksi Makna Datun Kendau pada Masyarakat Kenyah di Desa Budaya Pampang Lenjau, Septiana; Putra, Bayu Arsiadhi; Setyoko, Aris
Jurnal Mebang: Kajian Budaya Musik dan Pendidikan Musik Vol. 1 No. 1 (2021)
Publisher : Program Studi Etnomusikologi, Fakultas Ilmu Budaya, Universitas Mulawarman

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (321.33 KB) | DOI: 10.30872/mebang.v1i1.4

Abstract

In the Kenyah community in the Pampang Cultural Village, Datun Kendau has undergone many changes, which are more likely to add Sampe and change the lyrics of the song to the Kenyah language commonly used in Pampang Village. This study aims to describe the form and meaning of Datun Kendau in the Kenyah community in Pampang Cultural Village. This research uses qualitative methods with observation techniques, data collection techniques and data analysis. The observation technique includes the object of study and the determination of informants. Data collection techniques include literature study, interviews, and documentation. Finally, data analysis techniques using field data. The results show that the Datun Kendau show's form has changed, which consists of a simple musical structure and consists of repeated melodic motifs. Datun Kendau has adapted to the activities of tourism events and young Kenyah artists' interests in Pampang Village. The creation of the reality of the meaning of Datun Kendau is interpreted as a way of adaptation, the formality of performances, and activities that are profitable and occur because of broken communication between the older generation and the younger generation
Deskripsi Upacara Odalan di Pura Payogan Agung Kutai Kalimantan Timur Putra, Agus Kastama; Surya, Satyawati
Jurnal Mebang: Kajian Budaya Musik dan Pendidikan Musik Vol. 1 No. 1 (2021)
Publisher : Program Studi Etnomusikologi, Fakultas Ilmu Budaya, Universitas Mulawarman

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (5525.654 KB) | DOI: 10.30872/mebang.v1i1.5

Abstract

The Odalan ceremony can be found in Hindu places of worship or temples in Bali, Java and Kalimantan. However, each region has its characteristics or specificities that are not found in other regions. It is an attraction for researchers to find out, explore, and discover the Odalan ceremony's uniqueness outside Bali, namely onKalimnantan. This study aims to describe the procedure or sequence of Odalan ceremonial activities, the cultural elements found in the Odalan ceremony, and the meaning of the Odalan ceremony's implementation. This research is descriptive qualitative research. The approach used is the ethnographic approach. The research object is the Odalan ceremony held at Pura Payogan Agung Kutai, East Kalimantan. This study's results indicate that the Odalan ceremony, which took place at Payogan Agung Kutai Temple, lasted for 71 days from 3 November 2019 to 12 January 2020. The sequence of activities started from the committee's formation, installing the attributes, cleaning the place for the ceremony until the Odalan Ceremony by carrying out prayers, Nyineb, until the committee's dissolution. The community was very enthusiastic in celebrating this ceremony, as evidenced by various parties' participation, both from Hindus themselves and the community around the temple. The Odalan ceremony was attended by Hindus from East Kalimantan, Bali, Java and Lombok. The Odalan or Piodalan ceremony is the anniversary of the birth of a Hindu holy place. In this case, the birthday of Pura Payogan Agung Kutai, East Kalimantan. Elements of Bali, Java, and Kalimantan (especially Dayak) culture, color the Odalan Ceremony at Pura Payogan Agung Kutai. The Odalan ceremony in each area is carried out according to local culture. Balinese, Javanese and Dayak cultural elements are reflected when presenting arts, offerings, tetabuhan, and dance.

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