Melodious : Journal of Music
Melodious : Journal of Music merupakan jurnal ilmiah elektronik yang menerbitkan artikel ilmiah dengan fokus pada bidang musik moderen kontemporer. Adapun topik bahasannya, mulai dari inovasi, teknologi, ilmu pengetahuan, industri, dengan ruang lingkup kajian maupun ciptaan karya musik. Hal ini sejalan dengan atensi penerbitan jurnal ini yang didedikasikan sebagai media diseminasi karya ilmiah tugas akhir Mahasiswa Program Studi Musik, pada tataran pengkajian maupun penciptaan, program Merdeka Belajar - Kampus Merdeka (MBKM).
Articles
78 Documents
<![CDATA[ANALISIS PERFORMA MIXER MIDAS M32 UNTUK STUDIO RECORDING: DI PREGINA ART & SHOWBIZ ]]>
<![CDATA[Sitepu, Solideo Tanmamana]]>;
<![CDATA[Ardini, Ni Wayan]]>;
<![CDATA[Irawan, Ricky]]>
<![CDATA[ MELODIOUS : JOURNAL OF MUSIC Vol 3 No 2 (2024): Melodious : Journal of Music ]]>
Publisher : <![CDATA[UPT Pusat Penerbitan LP2MPP ISI Denpasar ]]>
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DOI: 10.59997/melodious.v3i2.3167
<![CDATA[Audio mixer have an important role in the operation of an audio sound system to process it in such a way and obtain the desired results. One type of audio mixer that is often used in the modern music industry is a digital mixer, namely the MIDAS type M32 mixer. This research aims to analyze the performance of the MIDAS mixer in the recording studio at Pregina Art Showbiz. The type of research data is qualitative data used to determine the performance of the MIDAS M32 mixer at Pregina Art & Showbiz Bali regarding the channels used in the MIDAS M32 mixer, types of input and output, sound quality, ease of use, size and portability of the MIDAS M32 mixer in recording studios. at Pregina Art Showbiz.The research results show that the performance of the MIDAS M32 mixer in recording studios has high sound quality and advanced features that meet the needs of professionals in the audio industry. MIDAS M32 provides high flexibility for studio recording needs. Sound quality analysis highlights the advantages of the microphone preamp, ADC conversion, and digital signal processing (DSP) system in creating recordings that are sharp, clear, and accurate while having the size and portability to be transported with relative ease thanks to the rugged design. MIDAS M32 is a comprehensive solution for studio recording needs that combines superior sound quality, advanced features, and ease of use at Pregina Art & Showbiz.]]>
<![CDATA[KEMBANG API ]]>
<![CDATA[Laning, Billy Syalom]]>;
<![CDATA[Ardini, Ni Wayan]]>
<![CDATA[ MELODIOUS : JOURNAL OF MUSIC Vol 3 No 2 (2024): Melodious : Journal of Music ]]>
Publisher : <![CDATA[UPT Pusat Penerbitan LP2MPP ISI Denpasar ]]>
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DOI: 10.59997/melodious.v3i2.3202
<![CDATA[Fireworks work is a form of the cultivator's love for fireworks when the cultivator was small, when the cultivator was 5 years old the cultivator listened to the roar above the sky. When the cultivator comes out the cultivator sees a colorful light and rumbling sound that has a beauty felt by the cultivator, so that through an approach to liking, the cultivator wants to create a work of musical composition that the cultivator believes this work can Give a message or meaning to the beauty of fireworks. This work takes the form of a percussion ensemble. Using the creation method used 1. Contemplation Through this process, the ensemble can reflect and construct ideas or ideas that will be embodied in a musical piece. 2. Exploration of the source of ideas: Seeking and collecting ideas and inspiration from various sources, such as everyday life, nature, and other music 3. Determination of musical concepts: Formulate concepts or themes that will be the foundation in the creation of ensemble music. 4. Music concept making: Composing a musical concept that contains ideas and inspiration that have been collected. 5. Ensemble music making: a touch of kolintang as pitched percussion as the melody color of this piece. The work of KEMBANG Api is divided into 3 parts: Part 1 where the cultivator tells about the awaited beginning when setting off fireworks with a tense atmosphere. Part 2 cultivators tell the scene when fireworks explode above the sky with a colorful atmosphere giving 5/4 difficulty. Part 3 tells the story of when the fireworks have finished exploding and the atmosphere returns to calm with percussion instruments. The cultivator hopes that his work can open up a space of reflex for listeners, inviting them to explore various beats in this work.]]>
<![CDATA[ARUNIKA ]]>
<![CDATA[Simangunsong, Daniel Pedro]]>;
<![CDATA[Sumerjana, Ketut]]>;
<![CDATA[Laksmi, Desak Made Suarti]]>
<![CDATA[ MELODIOUS : JOURNAL OF MUSIC Vol 3 No 2 (2024): Melodious : Journal of Music ]]>
Publisher : <![CDATA[UPT Pusat Penerbitan LP2MPP ISI Denpasar ]]>
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DOI: 10.59997/melodious.v3i2.3247
<![CDATA[Based on the experience, the composer will also create a musical composition entitled Arunika. Arunika is the phenomenon of the emergence of the tip of the sun above the eastern horizon, or this event is often called the sunrise process. Arunika is a word derived from Sanskrit. Sanskrit itself is a member of the Indo-European language family and is considered one of the oldest and most well-known languages among linguists. Sanskrit is a perfect language, an antonym of vernacular or prakrit, often used for religious or scientific purposes. Sanskrit is one of the official languages used in India today, because it is closely related to Hinduism and Buddhism. In India itself, Sanskrit is commonly used in several Hindu religious ceremonies and other major national celebrations. This language is a special language for Indian society, this is because it is a marker of differences in social status so it is only taught to upper classes or castes. The use of Sanskrit has developed into a specific symbol and language not only in India but also in several countries. The word Arunika became the title of the work to reflect a personal experience, namely vision problems, where his eyes became dark and he could not move. The problems experienced by cultivators have a big impact on the path of dreams and the future they have envisioned. The impact of this problem made the cultivator decide on his dream. Arunika herself had a huge influence in the process of creating this work. This work was born from a process of self-healing and recovery accompanied by the environment.]]>
<![CDATA[PROSES PEMBELAJARAN VOKAL GRUP: DALAM UPAYA MENINGKATKAN TEKNIK VOKAL PADA KEGIATAN EKSTRAKURIKULER DI SMPN 8 DENPASAR ]]>
<![CDATA[Gandu, Maria Fransiska]]>;
<![CDATA[Sumerjana, Ketut]]>;
<![CDATA[Laksmi, Desak Made Suarti]]>
<![CDATA[ MELODIOUS : JOURNAL OF MUSIC Vol 3 No 2 (2024): Melodious : Journal of Music ]]>
Publisher : <![CDATA[UPT Pusat Penerbitan LP2MPP ISI Denpasar ]]>
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DOI: 10.59997/melodious.v3i2.3248
<![CDATA[Implementation of the MBKM curriculum must be developed by each university and study program. SMP Negri 8 Denpasar was founded in 2006 as an effort to make Denpasar a city of educators as well as responding to the development of the city of Denpasar. SMP Negeri 8 Denpasar is a state junior high school that serves junior high school education in Denpasar City. The lessons provided include all mandatory subjects according to the applicable curriculum. SMP Negeri 8 Denpasar has teaching staff who are competent in their subject areas so they are of high quality and are one of the best in Denpasar City. There are also various school facilities such as comfortable classrooms, libraries, sports fields, canteens and others. Therefore, researchers are interested in carrying out the MBKM program required by the campus in the form of Teaching Assistance activities in the Education unit to gain experience in the field as a teacher. Preparing a thesis using syntax and cooperative methods using scientific principles which contains a series of stages, namely the preparation stage, the presentation stage, the training stage (practice), and the performance stage. The learning process includes activities from opening the lesson to closing the lesson. The initial activity is to provide a general overview of the material that the author will provide to students. The activities at the end of the lesson are summarizing the learning results and giving appreciation or appreciation to students. Group vocal learning and vocal techniques at this school use the demonstration method and lecture method. This aims to apply new methods to make music learning at SMPN 8 Denpasar more effective.]]>
<![CDATA[DISONANSI NADA DALAM HARMONI MUSIK MEDITASI:: EKSPLORASI KONSEP ZEN BUDDHISM PADA KARYA DENGAN JUDUL “SATORI” ]]>
<![CDATA[Abigail A., Kadek Ayu Neesha]]>;
<![CDATA[Darmayuda, I Komang]]>
<![CDATA[ MELODIOUS : JOURNAL OF MUSIC Vol 3 No 1 (2024): Melodious : Journal of Music ]]>
Publisher : <![CDATA[UPT Pusat Penerbitan LP2MPP ISI Denpasar ]]>
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DOI: 10.59997/melodious.v3i1.3277
<![CDATA[Music plays a central role in conveying messages and expressing emotions, often serving as an escape from daily life. In the context of Western music production, complexity is commonly considered a measure of the value of a musical work. However, this work aims to present a new perspective by asserting that beauty exists in simple music. Inspiration is drawn from meditation music, a discourse that fosters reflection and contemplation through the medium of music. Meditation music, as a means to seek tranquility and mental balance, can influence listeners physically, spiritually, and emotionally. This research explores the dissonance of tones within the harmony of meditation music, bringing forth new thoughts on musical elements and integrating principles of Zen Buddhism, particularly the concept of satori as the essence of Zen that reflects the teachings of enlightenment. The hope is that this composition not only enriches the auditory experience but also provides support in the journey of individuals seeking tranquility amidst the chaos of daily life.]]>
<![CDATA[INPUT, PROSES, OUTPUT PEMBUATAN MUSIK BUMPER: PADA PROGRAM ACARA KUIS PAKIS BALI DI BALI TV ]]>
<![CDATA[Luthfiansyah, Muhammad Raihan Luthfiansyah]]>;
<![CDATA[Wiyati, Wahyu Sri]]>;
<![CDATA[Ardini, Ni Wayan]]>
<![CDATA[ MELODIOUS : JOURNAL OF MUSIC Vol 3 No 2 (2024): Melodious : Journal of Music ]]>
Publisher : <![CDATA[UPT Pusat Penerbitan LP2MPP ISI Denpasar ]]>
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DOI: 10.59997/melodious.v3i2.3288
<![CDATA[Bumper is an opening animation in a television program, serving as a short animation to depict the identity of a show or institution. Every TV program typically features a bumper to showcase its identity. During the internship in the MBKM 2023 program at Bali TV, I had the opportunity to create bumper music for the quiz show "Kuis Pakis Bali." I am grateful for this opportunity as it allows me to channel my passion for music and apply the knowledge gained in previous semesters to craft the bumper music for the "Kuis Pakis Bali" program. The process involved several stages: introduction, observation, music creation, and mixing/mastering. The introduction stage involved discussing the music bumper with Bali TV. The observation stage included analyzing existing bumper videos to create the musical accompaniment. In the music creation stage, I began composing the music for the bumper. Lastly, in the mixing and mastering stage, I merged the video and music, refining the sound to achieve balance and a pleasant listening experience.]]>
<![CDATA[CONQUEROR ]]>
<![CDATA[Tampubolon, Aaron Tristan Immanuel]]>
<![CDATA[ MELODIOUS : JOURNAL OF MUSIC Vol 3 No 2 (2024): Melodious : Journal of Music ]]>
Publisher : <![CDATA[UPT Pusat Penerbitan LP2MPP ISI Denpasar ]]>
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DOI: 10.59997/melodious.v3i2.3325
<![CDATA[Conqueror is a musical composition inspired by the story of a judge in the Bible named Gideon in his battle against the Midianites. The method of creation in this music composition work uses stages based on L.H Chapman's theory, namely, efforts to find ideas, refine, develop and solidify initial ideas, and the realization of the work. The concept of Conqueror music is done with a modern music approach which is then packaged into three parts where each part has its own story which is then implemented into the instrument work.]]>
<![CDATA[PROSES PRODUKSI LAGU “PEACE” DI CITRANALA ART STUDIO ]]>
<![CDATA[Halawa, Apostolikum Kristian Halawa]]>;
<![CDATA[Wiyati, Wahyu Sri]]>;
<![CDATA[Irawan, Ricky]]>
<![CDATA[ MELODIOUS : JOURNAL OF MUSIC Vol 3 No 2 (2024): Melodious : Journal of Music ]]>
Publisher : <![CDATA[UPT Pusat Penerbitan LP2MPP ISI Denpasar ]]>
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DOI: 10.59997/melodious.v3i2.3445
<![CDATA[This research aims to find out the procedures, processes and utilization of tools in the production process of the song "Peace" at Citranala Art Studio. According to Sawyer and Golding, music production has 3 general stages, namely: (1) Pre-production (2) Production, (3) Post-production is the last stage which includes the process of editing, balancing, mixing-mastering so that it can present a song that is ready to be presented. The method in this research uses qualitative methods and the data collection techniques are observation, interviews, and documentation. All stages that have been described can be integrated with each other, so that the production completion mechanism on Peace music can be completed properly.]]>
<![CDATA[Proses Penciptaan Karya Komposisi Mind Chaos ]]>
<![CDATA[Situmorang, Jazz Baldwin Parluhutan]]>;
<![CDATA[Prasetyo, Guntur Eko]]>;
<![CDATA[Irawan, Ricky]]>
<![CDATA[ MELODIOUS : JOURNAL OF MUSIC Vol 4 No 1 (2025): Melodious : Journal of Music ]]>
Publisher : <![CDATA[UPT Pusat Penerbitan LP2MPP ISI Denpasar ]]>
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DOI: 10.59997/melodious.v4i1.5063
<![CDATA[Mind Chaos merupakan komposisi yang terinspirasi dari keresahan yang dialami oleh penulis. Karya ini menginterpretasikan keresahan penulis tentang pikirannya yang kacau. Pikiran yang kacau ini tidak disebabkan oleh orang lain, namun berasal dari dalam diri penulis sendiri. Penulis merasa perfeksionis sehingga sering mengulang sesuatu agar terkesan sempurna. Apabila sesuatu tersebut masih belum terkesan sempurna, maka pikirannya akan semakin terbebani oleh hal yang bahkan sangat sederhana tersebut. Selain dari diri sendiri, penyebab lainnya juga berdampak terhadap keresahan ini seperti trauma yang mendalam pasca kecelakaan. Hal ini menimbulkan bangkitnya rasa ketidakpercayaan terhadap orang lain ketika sedang mengendarai kendaraan. Ditambah dengan kebingungan tentang masa depan yang semakin mendekat yang membuat pikiran penulis semakin kacau. Proses dari pembuatan komposisi ini berhubungan erat dengan pengembangan ide musikal. Penulis menggunakan konsep musik minimalis, yang dimana memilikki satu pola benang merah dengan jumlah 3 bar yang memilikki banyak repetisi. Pola tersebut akan dimodifikasi sesuai dengan kebutuhan per bagian. Bagian pertama yang memperkenalkan pola benang merahnya secara berulang dan modifikasi pola yang diperlukan pada setiap bagian. Bagian dua menggunakan konsep aleatorik, yaitu musik yang tidak pasti. Seperti dadu ketika dikocok lalu kita akan memainkan frasa yang sesuai dengan hasil kocokan dadu tersebut. Bagian tiga yang merupakan antiklimaks dan resolusi dimana dijelaskan dalam bentuk musik bagaimana keresahan ini dapat teratasi. Karya ini diciptakan menggunakan metode Alma Hawkins, dimana metode ini terdapat eksplorasi, improvisasi, dan pembentukan. Hasil dari karya ini adalah karya musik minimalis yang menggunakan banyak modifikasi seiring berjalannya waktu dan masalah.]]>
<![CDATA[Treatise for Risalah ]]>
<![CDATA[Rahma, Diva Sherina]]>;
<![CDATA[Ardini, Ni Wayan]]>
<![CDATA[ MELODIOUS : JOURNAL OF MUSIC Vol 4 No 1 (2025): Melodious : Journal of Music ]]>
Publisher : <![CDATA[UPT Pusat Penerbitan LP2MPP ISI Denpasar ]]>
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DOI: 10.59997/melodious.v4i1.5099
<![CDATA[Treatise for Risalah merupakan karya komposisi yang terinpirasi dari keresahan penulis mengenai hubungannya dengan adik kandungnya. Karya ini menceritakan kecemburuan penulis dengan saudari perempuannya yang bernama Risalah. Penulis membuat karya ini dengan tujuan untuk menuangkan rasa cemburunya dan menunjukan rasa sayangnya kepada adiknya yang selama ini sudah lama terpendam. Karya ini dikemas dengan format band, yang memilih jenis musik modern. Dalam karya ini terbagi menjadi 3 bagian yakni bagian A (keadaan penulis sebelum hadirnya Risalah), bagian B (kehadiran Risalah), bagian C (penerimaan dan rasa sayang penulis) . Dalam karya ini, penulis menggunakan metode Alma M. Hawkins dalam bukunya yang berjudul Creating Thruogh Dance (Mencipta Lewat Tari yang diterjemahkan oleh Y. Sumandiyo Hadi), yakni tahap penjajagan (Exploration), tahap percobaan (Improvisation), dan tahap pembentukaan (Forming) (Hawkins, 2003). Karya ini membawakan gaya musik modern menggunakan 5 instrumen yakni drum,bass,gitar,violin,piano, dan juga menambahkan vokal didalamnya serta pembacaan puisi sebagai penekanan makna pesan yang ingin disampaikan dalam karya ini.]]>
