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Scoring: Journal of Film Music
Published by Institut Seni Indonesia Padang Panjang
ISSN : -     EISSN : 30218764     DOI : http://dx.doi.org/10.26887/scoring
Core Subject : Art,
Arts
Scoring: Journal of Film Music, an academic journal published by the Department of Film Music, Faculty of Performing Arts, Institut Seni Indonesia Padangpanjang twice a year. This journal publishes original articles focusing on the results of studies in the field of film music. The coverage of topics in this journal includes: Music in moving picture Composition or Arrangement for film music History of film music Theory of Film Music or Analysis Music Technology Music Studies
Arjuna Subject : Seni dan Humaniora - Musik
Articles 35 Documents
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The Composition Process of FLS3N Dance Music 'Ratapan Bumi' Through the Digital Audio Workstation Studio One 6 Approach: A Study of Creation Methodology Martiano, Vereki; Zaidi, Ahmad; Pardi, Ari; Surayya, Yade; Alhamda Putra, Vindo
Scoring: Journal of Film Music Vol 3, No 2 (2025): Scoring
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/scoring.v3i2.6155

Abstract

This study aims to holistically analyze and describe the creation methodology utilized by composer Vic Art. in producing the accompanying music for the FLS3N (National Student Art and Literature Competition Festival) dance, Ratapan Bumi (The Earth's Lament). This dance work possesses high narrative complexity, addressing the environmental crisis issue in Riau and integrating the Riau Malay philosophy ("The Malay will not disappear from the Earth"), while simultaneously demanding strict synchronization accuracy with the vigorous Malay Silat movements. The primary focus of the research is the optimization of the Digital Audio Workstation (DAW) Studio One 6 as an integral methodological device within the entire composition process. Employing a qualitative approach with a case study method, data were collected through in-depth interviews with the Composer, observation of the DAW project workflow, and analysis of choreography documents. The results identify three methodological pillars: (1) Conversion of Narrative into the Arrangement Structure in Studio One 6, (2) Sound Design Hybridity using VSTs to blend traditional Malay timbre with the electronic spectrum, and (3) Automation Optimization to achieve dynamic expression synchronized with the movement energy. This research confirms that DAW Studio One 6 functions not only as a production tool, but rather as an essential methodological environment in translating socio-cultural issues into a state-of-the-art sonic medium.
A Re-Evaluation of J.C. Bach's Cello Concerto in C Minor (W. C11) in the Context of Galant Aesthetics for Soloist Practice Ikram, Muhammad; Sina, Ibnu; Dary, Mohammad; Anggraini, Nora
Scoring: Journal of Film Music Vol 3, No 2 (2025): Scoring
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/scoring.v3i2.6158

Abstract

Johann Christian Bach's (1735–1782) Cello Concerto in C Minor (W. C11) represents a unique intersection of eighteenth-century European musical traditions. This work, likely composed for the London concert market but infused with Mannheimian influences, serves as an ideal case study for investigating the transfer of style and solo performance practices in the Galant period. This article re-evaluates the concerto through a three-dimensional analysis: (1) a textual and comparative analysis of the primary manuscript source (British Library Add MS 31723) and a problematic modern edition; (2) a placement of the work within the biographical and social context of J.C. Bach's London career, as well as the resonance of the Mannheimian idiom in his orchestration; and (3) an investigation of the technical and interpretative implications for modern solo cellists seeking to reconstruct a historically appropriate approach. The findings reveal that this concerto is not simply a transitional work, but rather a mature expression of the Galant aesthetic, in which Mannheimian dramatic elements (Steigerung, Raketen) are harnessed to enhance the lyrical and dialogic expression of the solo cello. This study concludes that a stylistically authentic performance requires a rejection of the romanticization in Paul Müller's standard edition (1936) and the adoption of principles of articulation, ornamentation, and rhetoric drawn from contemporary sources, thus restoring the work's position as an important touchstone in the early Classical cello repertoire.
Breaking the Path to Contextual Music Education: A Pedagogical Biography of Dirwan Wakidi and His Contribution to the Development of the Discipline in West Sumatra rahma, azzahra ashila; Hendri, Yon; Awerman, Awerman; Yusnelli, Yusnelli; Wijaksana, Bambang
Scoring: Journal of Film Music Vol 3, No 2 (2025): Scoring
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/scoring.v3i2.6147

Abstract

Individual biographies in the context of arts education play a crucial role in uncovering pedagogical practices, teaching philosophies, and contributions to the development of the discipline. This journal article presents an in-depth biographical study of Dirwan Wakidi, an influential music teacher in Indonesia, focusing on his unique contributions to music pedagogy and curriculum development. This study employs qualitative methods through an oral history approach, in-depth interviews with students, colleagues, and family, analysis of personal archives (teaching notes, musical compositions, learning programs), and participant observation within his teaching environment. The research findings reveal three key contributions of Dirwan Wakidi: (1) The development of a “Music for All” pedagogical model that integrates local wisdom values with contemporary music techniques, thereby enhancing the relevance and accessibility of music education; (2) His role as a catalyst in building a collaborative music education ecosystem at the regional level, which has impacted on enhancing the capacity of other music teachers; and (3) The formulation of a context-based music curriculum framework that emphasizes creativity, self-expression, and cultural appreciation, in addition to mastery of techniques. This study concludes that Dirwan Wakidi's biography not only captures a personal narrative but also reflects the broader dynamics of the history of music arts education in Indonesia, offering a model for contextual and sustainable teaching practices. The implications of this research provide a theoretical foundation for the development of inclusive music arts pedagogy and policy recommendations for arts teacher training oriented toward local strengths. This research fills a gap in the literature by documenting and analyzing the practice of an arts education practitioner whose work is significant but has not been academically documented in leading journals.
The Implementation and Transformation of Kulintang Melodies in the Rite of Mak Kamalun: A Minimalist Composition Analysis Kadafi, Fadel; HR, Hafif; Anggara, Rama
Scoring: Journal of Film Music Vol 3, No 2 (2025): Scoring
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/scoring.v3i2.6157

Abstract

The fusion of traditional Indonesian musical material with modern Western aesthetics has become a field of exploration in musical composition. Kulintang, as a musical system from the Mamasa people (West Toraja/West Sulawesi) and the Maranao people of the Philippines, provides a rich source of melodic and rhythmic structures that have not been widely explored within a minimalist musical framework. This article aims to analyze the implementation and transformation of kulintang melodies in the orchestral composition "Ritus Mak Kamalun," using an analytical approach to the minimalist musical techniques used. This study uses a descriptive-analytical method of music analysis, combining the theory of motif transformation (Straus, 2016) and the principles of minimalist music (Potter, 2002; Johnson, 1989). Primary data consists of scores and audio recordings of Ritus Mak Kamalun, and secondary data consists of ethnomusicological literature on kulintang. The analysis shows that Kulintang melodies are not simply implemented as excerpts, but are systematically transformed through (1) phase shifts and additive processing of short patterns (cells), (2) repetitions with microvariations of typical Kulintang intervals (such as the minor second and quart), and (3) recontextualization of pentatonic melodic patterns into an expanded tonal system. These transformations produce organically evolving structures, retaining the "soul" of traditional motifs while operating within a minimalist logic. The Mak Kamalun ritual demonstrates that ethnic material can function as a generative core in minimalist compositions, not merely as additional color. This study contributes to an analytical model for integrating traditional material into modern musical forms, as well as enriching the understanding of Kulintang's potential beyond its traditional ritual context.Keywords: Kulintang, minimalist music, compositional analysis, motif transformation, contemporary Indonesian music, applied ethnomusicology.
The Intersection of Speech Surrogacy, Speech Melody, and Tonal- Drumming in Minangkabau Pasambahan Ritual Speech Anton, Syahri -; Fulzi, Nadya -; Surayya, Yade -; Dary, Mohammad
Scoring: Journal of Film Music Vol 3, No 2 (2025): Scoring
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/scoring.v3i2.6030

Abstract

This study examines the complex integration of speech substitute systemsin the traditional pasambahan (ceremonial speech) of the Minangkabaupeople of West Sumatra, Indonesia. Pasambahan is a highly structuredritual speech genre used in traditional ceremonies, characterized by itsmetaphorical language, specific prosody, and melodic contour (spokenmelody). The study hypothesizes that pasambahan not only employsparalanguage but also operates as a nuanced speech substitute, where itsstructured melodic patterns (spoken melody) and its codifiedrepresentation in talempong pacik (handheld gong) (pitched percussion)performances from complementary communication systems. Throughethnographic fieldwork and multimodal analysis of audio-visualrecordings of wedding and inauguration ceremonies in Luhak Nan Tigo,This study elucidates how the prosodic and melodic features of spokenPasambahan are systematically mapped onto the pitched percussionpatterns of talempong. These findings suggest that this tripartiterelationship between ritual speech, its inherent melody, and itsinstrumental substitute serves to enhance social status, reinforcecosmological concepts, and delimit ceremonial knowledge, therebyperpetuating socio-cultural authority. This research contributes to abroader theoretical understanding of speech substitutes by depicting theirmanifestation not in a stand-alone drum language but as embedded withinthe complex performative speech genre itself.

Page 4 of 4 | Total Record : 35

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