Indonesian Journal of Music Research, Development, and Technology
Focus: Interlude: Indonesian Journal of Music Research, Development, and Technology seeks to provide a forum for scholarly exploration, exchange, and progress in the fields of music research, development, and technology. The journal focuses on a multidisciplinary approach to comprehending and enhancing various aspects of music, including both traditional and modern practices. It aims to cultivate collaboration and innovation among music and technology researchers, practitioners, and technologists. Scope: Music Research: Interlude embraces original research articles that delve into diverse areas of music scholarship, such as musicology, ethnomusicology, music theory, music history, and inter-disciplinary studies. It is encouraged that researchers investigate the historical contexts, cultural influences, and theoretical frameworks that shape the world of music.Music Development: The journal encourages submissions that investigate the creative process, composition, arrangement, and performance aspects of music development. This includes studies into musical forms, styles, genres, and techniques, as well as the function of music in social and cultural contexts.Music Technology: The purpose of Interlude is to highlight advancements in music technology, including but not limited to digital music production, sound synthesis, virtual instruments, audio processing, music software, interactive installations, and multimedia applications. It encourages research on the design, implementation, and impact of technological instruments and solutions in the domain of music.Music for Media: This area focuses on the creation, application, and impact of music in various forms of media, including but not limited to film, television, video games, advertising, virtual reality, and other multimedia platforms. Music and Society: The journal provides a forum for discussions regarding the societal and cultural implications of music. This may include analyses of the role of music in identity formation, activism, education, healing, and well-being, as well as examinations of how technology has transformed the consumption and distribution of music.Interdisciplinary Approaches: Interlude encourages research that bridges the divide between music, technology, and other disciplines such as psychology, neuroscience, anthropology, sociology, computer science, and engineering. It endeavors to investigate how the intersection of diverse disciplines can enhance our understanding of music and its relationship to technology.Innovation and Collaboration: The journal promotes articles that spotlight innovative music and technology projects, collaborations, and initiatives. It endeavors to foster a dialogue between academia, industry, and the broader artistic community in order to propel the development and application of innovative concepts and technologies.
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<![CDATA[Acoustic dynamics in performance halls: Enhancing violin sound quality in the FPSD orchestra room ]]>
<![CDATA[Daniel de Fretes]]>;
<![CDATA[Fitriawati Fitriawati]]>
<![CDATA[ Interlude: Indonesian Journal of Music Research, Development, and Technology Vol 3, No 2 (2024): Interlude: May 2024 ]]>
Publisher : <![CDATA[Universitas Pendidikan Indonesia ]]>
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DOI: 10.17509/interlude.v3i2.71954
<![CDATA[With an emphasis on improving violin sound quality, this study explores the acoustic dynamics of the FPSD Orchestra Room at Universitas Pendidikan Indonesia. Direct and reflected sound are the two factors that impact the phenomena of interior sound. This research emphasizes the crucial balance between sound absorption and reflection to optimize the acoustic environment and ensure clarity and richness in violin performances. Improving acoustic conditions is vital to increase audience experience and performance quality. The study used a qualitative descriptive research style combining literature review and observations. The research site was the FPSD Orchestra Room, renowned for its historical significance and contribution to music education. The observations revealed significant acoustic obstacles that adversely affected the violin sound's clarity, including excessive reverberation and unequal sound dispersion. The literature review revealed the theoretical underpinnings of sound propagation, reverberation, absorption, reflection, and diffraction. The acoustic environment can be greatly enhanced by introducing sound-absorbing materials to optimize reverberation duration, controlling reflections with diffusers, and utilizing adaptive acoustic systems. Furthermore, combining virtual acoustics technology with digital sound processing systems allows for dynamic control over acoustic parameters, increasing the performance space's adaptability. These improvements provide a customized acoustic environment that supports a variety of musical performances and guarantees the audience a clear, engaging auditory experience. This study emphasizes the significance of fusing cutting-edge technology innovations with conventional acoustic design concepts to attain optimal sound quality in performance halls. Innovation and research must never stop to improve these acoustic settings even further.]]>
<![CDATA[Examining Tori Kelly's vocal improvisation on the song "Don't You Worry ‘Bout a Thing" ]]>
<![CDATA[Bayu Pratama]]>
<![CDATA[ Interlude: Indonesian Journal of Music Research, Development, and Technology Vol 3, No 2 (2024): Interlude: May 2024 ]]>
Publisher : <![CDATA[Universitas Pendidikan Indonesia ]]>
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DOI: 10.17509/interlude.v3i2.71594
<![CDATA[This study examines the vocal improvisation in the performance of "Don't You Worry ‘Bout a Thing" from the movie Sing to improve the general comprehension of vocal methods in popular jazz music. This study aims to fill the vacuum in the current literature on vocal improvisation by studying the song's repertoire, with a particular focus on the vocal components. Researchers utilize a descriptive qualitative approach to observe and analyze the music directly, supplemented by intense listening sessions, to reveal the subtleties of vocal delivery. The goal is to explore the complex vocal improvisations that define the song, emphasizing how these aspects contribute to its overall artistic expression. This study not only provides instructional value for budding musicians but also enhances the general audience's understanding and enjoyment of jazz improvisation. This research offers a helpful update to existing knowledge by providing extensive insights into the vocal improvisation techniques used in "Don't You Worry ‘Bout A Thing". It addresses the need for more thorough data in this area. The findings emphasize the significance of improvisation in jazz, demonstrating how impromptu voice alterations can augment a song's emotional profundity and dynamic scope. The primary objective of this study is to enhance the comprehension and admiration of vocal improvisation among a broader range of people, promoting a more thorough involvement with jazz music and stimulating the growth of personal musical abilities and expressions.]]>
<![CDATA[Distortions in sound: Bridging acoustics and psychoacoustics in auditory perception ]]>
<![CDATA[Tauhid Firman Nurdin]]>
<![CDATA[ Interlude: Indonesian Journal of Music Research, Development, and Technology Vol 3, No 2 (2024): Interlude: May 2024 ]]>
Publisher : <![CDATA[Universitas Pendidikan Indonesia ]]>
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DOI: 10.17509/interlude.v3i2.71595
<![CDATA[The field of acoustics encompasses the examination of sound, encompassing both its physical characteristics and the way in which humans perceive auditory input. Acoustics is the study of how sound waves are created and spread physically, while psychoacoustics connects these physical characteristics to our auditory perceptions. Comprehending these two features is essential for progress in audio technology and understanding auditory perception aberrations such as paracusia and diplacusis. This research consolidates information from multiple investigations to examine the interaction between acoustics and psychoacoustics. The technique entails examining the current body of literature on the fundamental principles governing sound waves, their interaction with various materials, and their movement across space. The examination of psychoacoustic elements involved the conversion of sound waves into brain impulses. The study also examines certain psychoacoustic phenomena, such as the sense of pitch and auditory distortions. By combining acoustic and psychoacoustic concepts, we can gain a thorough comprehension of how we perceive sound. Sound waves, generated by mechanical vibrations, pass through substances such as air, causing compression and rarefaction cycles that move at a speed of about 344 m/s at a temperature of 20°C. Psychoacoustics studies the perception of sound waves, specifically how they are processed by the ear and converted into neural signals that the brain can understand. The key findings reveal the subjective nature of pitch perception, where alterations in intensity or length impact the perceived frequency and the precise sensitivity of pitch discrimination. Furthermore, abnormalities such as paracusia and diplacusis emphasize the intricacies of auditory perception. The study highlights the significance of psychoacoustics in audio technology, where principles are utilized in audio compression and noise reduction to improve sound quality and clarity. The comprehensive comprehension of acoustics and psychoacoustics lays the groundwork for advancements in audio technology and the creation of auditory experiences.]]>
<![CDATA[Exploring the interpretation techniques in Bach’s Cello Suite No. 1 Prelude: A theoretical and practical approach to baroque performance practice ]]>
<![CDATA[Nandya Abror Nurmusabih]]>;
<![CDATA[Andhika Dzaki Naufal]]>
<![CDATA[ Interlude: Indonesian Journal of Music Research, Development, and Technology Vol 3, No 2 (2024): Interlude: May 2024 ]]>
Publisher : <![CDATA[Universitas Pendidikan Indonesia ]]>
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DOI: 10.17509/interlude.v3i2.71882
<![CDATA[This study investigates the essential strategies for interpreting Johann Sebastian Bach's Cello Suite No. 1 Prelude, with a specific emphasis on historically informed performance practices (HIP). The focus of this study is the intricate implementation of Baroque performance methods, including slurs, detached notes, double stops, cross-string techniques, and ornamentation. These skills are crucial for providing a faithful interpretation of Bach's music. The significance of this research is to connect historical performance techniques with present interpretative approaches, guaranteeing that contemporary performers may give performances that are both historically precise and emotionally captivating. The research methodology employed in this study involves an extensive examination of relevant literature, specifically focusing on the contributions of prominent academics such as Frederick Neumann, David Schulenberg, and Jean Claude Veilhan. These scholars have offered valuable insights into the fundamental aspects of Baroque performance practices. Furthermore, this analysis examines the incorporation of historical knowledge with contemporary performance practices by studying the practical insights of esteemed cellists such as Anner Bylsma and Pieter Wispelwey. This dual approach enables a comprehensive comprehension of both the theoretical foundations and actual implementations of the performance strategies in question. This research emphasizes the crucial function of slurs in producing smooth and connected phrasing, the significance of detached notes for precise rhythm, the utilization of double stops and cross-string techniques to enhance harmonic richness and technical complexity, and the importance of ornamentation in deepening the expressive quality of the Prelude. This research offers a complete framework for interpreting Bach's Cello Suite No. 1 Prelude by combining theoretical analysis with practical performance suggestions. This technique not only respects the artistic authenticity of Baroque music but also guarantees that Bach's enduring masterpiece remains relevant to contemporary audiences, thus contributing to the continuous development of classical music performance.]]>
<![CDATA[Analyzing 'Himawari No Yakusoku' in 'Stand by Me Doraemon' through film soundtrack and communication theories ]]>
<![CDATA[Yefya Bako]]>;
<![CDATA[Dandi Hafiddin]]>;
<![CDATA[Feysya Salsabila Ramadhani]]>
<![CDATA[ Interlude: Indonesian Journal of Music Research, Development, and Technology Vol 3, No 2 (2024): Interlude: May 2024 ]]>
Publisher : <![CDATA[Universitas Pendidikan Indonesia ]]>
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DOI: 10.17509/interlude.v3i2.71953
<![CDATA[This study examines the impact of the song "Himawari No Yakusoku" on the narrative and emotional complexity of "Stand by Me Doraemon" using film soundtrack theory and film communication theory. The focus of this inquiry is the incorporation of music into cinematic storytelling in order to elicit emotions and strengthen narrative ideas. The significance of this study arises from the increasing acknowledgment of music's pivotal role in the film, requiring a more profound comprehension of how soundtracks enhance the viewer's experience. This research used a qualitative analytical methodology to investigate the structural components of the song, encompassing its introduction, verses, pre-chorus, chorus, instrumental section, and outro. The analysis utilizes theoretical frameworks from prominent works in the field of film music studies, such as Claudia Gorbman's theory on narrative film music, Kathryn Kalinak's observations on the purposes of film music, and David Neumeyer and James Buhler's debates on the emotional influence of soundtracks. The result suggests that "Himawari No Yakusoku" successfully utilizes important musical methods, including key selection, polyrhythm, thematic recapitulation, and harmonic resolution, to correspond with the emotional and narrative progressions of the film. The song begins with a warm tone in the key of Bb, the verses feature a polyrhythm that adds emotional complexity, the pre-chorus creates anticipation, and the chorus serves as a distinctive leitmotif. The instrumental portion adds introspective complexity, while the outro provides a gratifying conclusion. These features collectively improve the film's narrative, showcasing the song's essential function in influencing the audience's emotional and cognitive reactions.]]>
