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INDONESIA
Musik Etnik Nusantara
Published by Institut Seni Indonesia Padang Panjang
ISSN : -     EISSN : 28076125     DOI : https://dx.doi.org/10.26887/musik%20nusantara.v1i2
Core Subject : Art,
Arts
JURNAL MUSIK ETNIK NUSANTARA is an academic journal published by Department of Karawitan, Faculty of Performing Arts, Institut Seni Indonesia Padangpanjang twice a year. This journal publishes original articles with focuses on the results of studies in the field of Indonesian ethnic music. The coverage of topics in this journal includes: Traditional Music Contemporary Music Musik Performence Composition or Arrangement Musicology Ilustration Music Etnomusicology World Music Technology Music Music Education Organology of Music
Arjuna Subject : Seni dan Humaniora - Musik
Articles 68 Documents
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Komposisi Musik Marango Pendekatan Tradisi Musik Runguih Panutuik Dari Dendang Ratok Paninggahan Dwi Syahputra; Firman Firman; Asep Saepul Haris
Jurnal Musik Nusantara Vol 3, No 2 (2023): Jurnal Musik Etnik Nusantara
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/jmen.v3i2.4065

Abstract

Ratok Paninggahan is an art form found in Nagari Paninggahan, Junjung Sirih District, Solok Regency, West Sumatra. in the middle of the house as an expression of sadness and disappointment and regret over the death of a family member. However, after the entry and development of Islam in Minangkabau, this activity is no longer functioned because it is contrary to Islamic teachings. This results in the disappearance of the ratok paninggahan existence in the death ritual. However, the local community is very enthusiastic about maintaining Ratok Paninggahan as part of their culture, so that Ratok Paninggahan can be present again in their community in a different context. The existence of ratok paninggahan in its supporting community has always experienced various developments that have brought ratok paninggahan into various changes. The phenomenon of changes in ratok paninggahan offers various interesting aspects to study, but in this paper it will be limited to two main things, namely how ratok paninggahan is presented and how ratok paninggahan functions in its supporting community. The method used is descriptive analysis method.
Bentuk Penyajian Kesenian Didong Grup Musara Bintang di Desa Linung Bulen II Kecamatan Bintang Kabupaten Aceh Tengah Yanti, Yunita Rahma; Wirandi, Rika; Ocktarizka, Tria
Jurnal Musik Etnik Nusantara Vol 4, No 1 (2024): Jurnal Musik Etnik Nusantara
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/jmen.v4i1.4225

Abstract

This research is entitled "Forms of Presentation of the Didong Arts of the Musara Bintang Group in Linung Bulen II Village, Bintang District, Central Aceh Regency". The author examines the form of presentation of Didong art by the Musara Bintang Group in Linung Bulen II Village, Bintang District, Central Aceh Regency. The research method used is a descriptive qualitative approach. Data obtained in the field used observation, interview and documentation techniques.The theory used in this research is the presentation theory from Djelantik's theory which states that form is the basic element of manifestation. In the form of presentation, it means that form is a fundamental element of a performance. These elements include artists, musicians, seating formation, movement, songs presented, costumes, performance venue, and audience. Based on the results of research in presentation, Didong art is played by 15 people consisting of: 1 Ceh Apit (Ceh Companion), 1 Main Ceh, and 2 Penepok Pumu and 2 Penepok pillow splits, each of which acts as a pillow act, split pillow , and 9 players who act as penepok/penunung (followers). The Didong art performance consists of 9 stages, for the costumes the players wear black unity t-shirts with the words "Musara Bintang" written on the chest and wear a headband called Jembolang.
Ratik Basa Ritual Tulak Bala Di Nagari Singgalang X Koto Kabupaten Tanah Datar Sabri Darmawan; Firdaus Firdaus; Muhammad Zulfahmi
Jurnal Musik Nusantara Vol 3, No 2 (2023): Jurnal Musik Etnik Nusantara
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/jmen.v3i2.4061

Abstract

The research entitled Ratik Basa as a Tulak Bala Ritual in Nagari Singgalang, X Koto District, Tanah Datar Regency, aims to describe the series of implementation of "Ratik Basa in the Tulak Bala ritual and the views of the people who adhere to the Syattariah sect in Nagari Singgalang, X Koto District, Tanah Datar Regency" . Ratik Basa is a worship service that is integrated into religious traditions in the form of reciting dhikr in various contexts in the lives of the people of Nagari Singgalang. The research uses qualitative methods, field data collection techniques, literature study, observation, interviews and documentation using ritual theory, religious theory and perception theory. The results of the research show that the implementation of the Ratik Basa tradition is sung using a monophonic vocal technique, namely sung in one type of voice. For the people who adhere to the Syattariah sect in Nagari Singgalang, X Koto District, Tanah Datar Regency, Ratik Basa as a Tulak Bala Ritual ceremony is very essential. Because it is closely related to people's lives, especially the threat to the safety of nagari children in various forms of disaster, including natural disasters, dangerous disease attacks, famine, and others. Ratik Basa as a Tulak Bala Ritual is very important for people's lives because apart from being able to avoid all disasters, it has a positive value as an identity for Nagari Singgalang, and as a ritual means to foster ties of brotherhood between groups of adherents of the Syattariah sect and society in general. 
Komposisi Musik Semarak Sipai Bersumber Dari Beruji Dol Dalam Upacara Tabot Di Kota Bengkulu Purwanda, Sandy; desmawardi, desmawardi; Haris, Asep Saepul
Jurnal Musik Etnik Nusantara Vol 4, No 1 (2024): Jurnal Musik Etnik Nusantara
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/jmen.v4i1.4223

Abstract

Music is a means of expressing the soul to communicate and interact between living creatures. Through music we can express various ideas with various colors of sound produced by any object that can accommodate the idea itself. Sounds and voices are arranged well so that a musical work is created as a harbor for ideas that are full of messages and meaning. This work begins with research on the Bruji Dol performance and from the results of the analysis, a conclusion is drawn to take one part, namely the song Girik" which is contained in the Bruji Dol performance in the Tabot ceremony in the city of Bengkulu. Beruji dol is a depiction of the spirit of war carried out by two groups, namely Tabot Bangsal and Tabot Imam. Beruji dol has an interesting musical case, namely that there is a game concept that is "freely bound" in the tasa game of the Tamatam repertoire called "Girik". To create the musical composition "Semarak Sipai" it was worked on using the Analytical Descriptive method using a Re-interpretation of Tradition approach. Through the creation of the musical composition "Semarak Sipai", the creator tried to present several forms of novelty in various aspects of the work in accordance with the concept offered. The Tradition Re-interpretation approach is used to share musical experiences as a contribution to the development of the musical composition itself.
Fungsi Talempong Pacik Dalam Upacara Perkawinan Dan Batagak Gea Lesmana Putra; Yurnalis Yurnalis; Syafniati Syafniati
Jurnal Musik Nusantara Vol 3, No 2 (2023): Jurnal Musik Etnik Nusantara
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/jmen.v3i2.4066

Abstract

Talempong pacik is a type of percussion music that is classified as a percussion instrument (idiophone). which is made from a mixture of metal and copper or brass which is played by four or five players consisting of five or six talempongs and one gandang instrument. This talempong art is played in processions during wedding ceremonies and Batagak Pangulu ceremonies. The aim of this research is to describe the form of presentation of talempong and its function in wedding ceremonies and batagak pangulu in the lives of the people of Jorong Subarang Nagari Paninggahan, Solok Regency. This research uses a descriptive method with a qualitative approach that uses primary data through interviews and direct observations in the field and secondary data, namely data obtained through literature study in the form of books related to the art of talempong pacik. The result achieved is that the form of presentation of talempong pacik in Jorong Subarang Nagari Paninggahan, Solok Regency is that the talempong instrument is played by three players, each of whom holds two talempongs which function as the parent talempong, paningkah talempong and child talempong and one drum. The function of talempong in wedding ceremonies and batagak penghulu is as a means of ritual, entertainment, aesthetic presentation, emotional expression and means of communication.
RELASI MUSIK DAN SAWER DALAM PERTUNJUKAN DANGDUT NEW MONATA Utama, Satria Rizky; setiawan, aris
Jurnal Musik Etnik Nusantara Vol 4, No 1 (2024): Jurnal Musik Etnik Nusantara
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/jmen.v4i1.4175

Abstract

This research is motivated by sawer activities in the New Monata dangdut music performance space. Sawer and dangdut music have a close relationship as performing arts. What we want to explain in this article is how saweran occurs in New Monata dangdut music performances and what the relationship is between music and saweran activities. This research was conducted using qualitative methods with stages of observation, interviews, document study, data presentation, data analysis, and drawing conclusions. Based on the analysis, it was found that the saweran activity in the New Monata dangdut music performance was carried out during the song. The act of nyawer is a reflective (spontaneous) and non-reflective (planned) action of the audience. Sawer is part of the reaction to the action of New Monata's dangdut music presentation. The relationship between music and sawer is a cause and effect relationship. The action of New Monata's dangdut music is the cause, the audience's reaction is the effect. Action and reaction are a natural phenomenon in a dangdut performance, music as action, and sawer as reaction.
Baboiyen Interpretasi Lagu Tenggi Kekomposisi Pendekatan Populer Bergenre Folk Hedrianto Hedrianto; Arif Anas; Susandra Jaya
Jurnal Musik Nusantara Vol 3, No 2 (2023): Jurnal Musik Etnik Nusantara
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/jmen.v3i2.4062

Abstract

"Baboiyen" is a composition of karawitan music inspired by the traditional art form of Saluang Patiak Tigo, specifically the repertoire of the Tenggi song from the Ujung Jalan village in South Solok Regency, Minangkabau. Saluang Patiak Tigo is often presented in various traditional ceremonies and weddings. The inspiring Tenggi song repertoire features intriguing musical elements with fluctuating tones and a melodic journey that rises and falls, creating a captivating impression. "Baboiyen" is an expression of the artist's ideas and concepts, developing the modes of the Tenggi song into an engaging musical composition with a popular folk genre approach. Through this work, the creator aims to share their musical experiences, provide inspiration, and foster interest in the development of traditional music.
Bentuk Penyajian Musik Tari Burung Putih Oleh Grup Kesenian Talang Ojan Kabupaten Pali Purnomo, Aji; Anton, Syahri
Jurnal Musik Etnik Nusantara Vol 4, No 1 (2024): Jurnal Musik Etnik Nusantara
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/jmen.v4i1.4228

Abstract

The White Bird Dance is a story of farmers who are harvesting rice but are damaged by White Birds. The bird is a pest for farmers, especially rice farmers, because the bird damages the rice before the farmers harvest it, the music accompanying the dance is the Talang Ojan Arts Group, this group is a late generation group that currently still exists in Talang Ojan Village, Penukal Abab Lematang Ilir Regency, the music performed is poetic and has a Malay rhythm, with small gong instruments and drums as rhythm guides. The purpose of this research is to find out how the Form of Presentation of White Bird Dance Music by the Talang Ojan Arts Group of Pali Regency, with a subfocus on analyzing the form of dance music structure of White Bird Dance Music.The stages of data collection in this study include (1) Observation, (2) Interview, (3) Documentation. And the research data validity stage uses, and the stages of analyzing this research data include (1) Data Reduction, (2) Data Presentation, (3) Conclusion. From the research, the results found that each song in the White Bird Dance Music has a part of its structure, namely the existence of one melodic phrase with a repeating period, the question phrase from the vocal rhythm and the answer phrase from the violin, each of these structures is always repeated in the next section only the song text is different.
BAGHAYUN BALAM REPRESENTASI DARI LAGU ANAK BALAM DI NAGARI KOTO TARATAK PESISIR SELATAN Sinta Ovela; Yunaidi Yunaidi; Arnailis Arnailis
Jurnal Musik Nusantara Vol 3, No 2 (2023): Jurnal Musik Etnik Nusantara
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/jmen.v3i2.4067

Abstract

The composition "Baghayun Balam" is a composition that departs from the tradition of the traditional song "anak balam" which is found in Nagari Koto Taratak, Sutera District, Pesisir Selatan Regency. In the beginning, this song was used in the ritual treatment of sick people, due to the influence of jinn and demons brought by other people such as witchcraft. Today the song "anak balam" has entered the realm of the rabab pasisia performing arts accompanied by the rabab pasisia and gandang oyak instruments. the song "anak balam" is usually sung in pairs (male and female) with verses that tell about the existence of subtle people in a continuous way that has a real sequence game technique, namely focusing on repetition or repetition by moving the basic tone from low to high and then back to reshape. The song "anak balam" became an inspiration for the artist to serve as material in creating a new piece of musical composition entitled "Baghayun Balam" which was worked on using a Tradition approach by Waridi who stated that the Traditional Approach is a process of creation that uses traditional idioms. which originates from Javanese karawitan without losing its original tradition. This work consists of three parts, namely the beginning, the middle, and the end which are intended to contribute to the development of traditional art so that its sustainability is maintained so that it can adapt and develop according to the mindset of the supporting community
pembelajaran eksrtakulikuler vokalis hadroh qosidah rebana di mi sabilul huda handayani, syahruni fariha; yanto, Wasis Wija
Jurnal Musik Etnik Nusantara Vol 4, No 1 (2024): Jurnal Musik Etnik Nusantara
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/jmen.v4i1.4182

Abstract

Pembelajaran ekstrakurikuler vokalis qosidah rebana di MI Sabilul Huda bertujuan untuk meningkatkan kemampuan vokal dan pemahaman siswa terhadap seni qosidah, yang merupakan bagian penting dari budaya Islam. Penelitian ini menggunakan metode kualitatif deskriptif untuk menggambarkan proses pembelajaran, teknik vokal yang diajarkan, dan dampak kegiatan ekstrakurikuler ini terhadap perkembangan keterampilan musik siswa. Hasil penelitian menunjukkan bahwa program ini tidak hanya memperkaya pengetahuan seni budaya siswa, tetapi juga meningkatkan rasa percaya diri dan keterampilan kerjasama tim mereka. Selain itu, pembelajaran qosidah rebana ini juga berperan dalam melestarikan tradisi musik islami di kalangan generasi muda.

Page 5 of 7 | Total Record : 68

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