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Grenek: Jurnal Seni Musik
Published by Universitas Negeri Medan
ISSN : 23015349     EISSN : 25798200     DOI : https://doi.org/10.24114/grenek.v10i1
Core Subject : Humanities, Science, Education, Art, Social,
Arts Humanities Computer Science & IT Education Social Sciences
Grenek : Jurnal Seni Musik merupakan jurnal yang dikelola oleh prodi pendidikan musik jurusan sendratasik FBS Unimed. Grenek: Jurnal Seni Musik menyajikan persoalan dan isu-isu terkini tentang musik di Indonesia terkhusus di Sumatera utara. Grenek : Jurnal Seni Musik secara khusus membahas tentang pendidikan musik, penyajian musik, pengelolaan musik, penciptaan musik, serta pengkajian musik.
Arjuna Subject : Seni dan Humaniora - Musik
Articles 403 Documents
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ANALISIS STRUKTUR MUSIK DAN TEKNIK BERMAIN BIOLA FOUR SEASON œWINTER KARYA KOMPONIS ANTONIO VIVALDI Simangunsong, Christine
Grenek: Jurnal Seni Musik Vol. 6 No. 1 (2017): Grenek: Jurnal Seni Musik (June)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/grenek.v6i1.10958

Abstract

This study aims to determine how the structure of music andviolin technique Four Season "Winter" by composer Antonio Vivaldi.In the discussion of this study used the theories related to researchtopics such as Antonio Vivaldi biography, analytical understanding,understanding of musical forms, musical structure and technique ofplaying the violin. The method used by the researchers in this study isdescriptive-qualitative method. The sample in this study such as thesheet music and videos of Four Season "Winter" by composer AntonioVivaldi. The techniques of data collection in this research are workinglaboratory analysis the melody of violin instrument like musicalstructure and technique of playing the violin and literature studyconducted at the Laboratory of the Department of Music Arts, Facultyof Languages and Arts, State University of Medan. From the results ofthis study can be obtained structure of music Four Season "Winter" bycomposer Antonio Vivaldi has 63 bars with 12 motifs includingoriginal motive literal replications and development, up and downsequence, bridges, enlargement of the interval, 10 phrases and is a 3-part song form complex / major played by violin playing techniques asdiverse namely legato, staccato, trill, double stops, and sforzando andusing the dynamic crescendo, mezzo forte, forte, piano, with the righthand position of mixed fingering position of the I-VII. Interpretationof the Four Seasons "Winter" tells the eerie atmosphere transitionalclimate when winter freeze with the sound of the wind through thestrains indicated cruel instrument tones on the violin.
LAGU TIAS DALAM UPACARA PERNIKAHAN ADAT SIMALUNGUN DI DESA BANGUN PURBA (STUDI KAJIAN, BENTUK PENYAJIAN, FUNGSI DAN MAKNA LAGU) Oktavianus, Eko Putra
Grenek: Jurnal Seni Musik Vol. 6 No. 1 (2017): Grenek: Jurnal Seni Musik (June)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/grenek.v6i1.10959

Abstract

"Songs Tias in Simalungun traditionalwedding ceremony in the village bangun purba (Studies of studies, forms ofpresentation, function and meaning of the song). This study aims to find outabout the song tias of form of presentation, function and meaning of the song inthe wake of early marriage ceremonies. This study is based on a theoreticalfoundation to explain the meaning assessment form, function and meaning of thesong. This research was conducted in the village bangun purba, during thewedding ceremony Simalungun. Data collected through literature study,observation, interviews, and documentation. This research was seen at thebeginning of the event to completion, with the aim of seeing the form ofpresentation, function and meaning of the song in the traditional Simalungun. Thefunction of this song was made to entertain the "boru" who come to the party"Tondong" which was performed during traditional wedding ceremonySimalungun wherever they are, including in the village bangun purba. And at thesame time see how the lives of people in the village get up early, and some clansin the area woke up early. This song has a meaning about a boy who had changedwhen he married them. The song is sung by a singer in the show, which isaccompanied by some traditional musical instruments Simalungun
The Presentation Form of Mamözi Göndra Music In Accompanying Nias War Dance on Furai Studio of Medan SIMAMORA, AGUSTYNUS SAPUTRA
Grenek: Jurnal Seni Musik Vol. 6 No. 1 (2017): Grenek: Jurnal Seni Musik (June)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/grenek.v6i1.10960

Abstract

The result of this study indicates that the presence of music mamözi göndra which isinherited by their ancestors is still extant. A way of presenting music mamözi göndradivided into three sections: preparation before the music mamözi göndra performedbefore the word fahugo used , after fahugo used musical instruments mamözi göndraplayed together in the show, the process of closing music mamözi göndra done onlywith the code of the trainer music or göndra mamözi music artists . There are five musicfunctions mamözi göndra namely : The function of entertainment, self-expression,communication, a dance, economics. Göndra mamözi musical instruments used aregöndra as a carrier tempo and pulse, faritia as the carrier beats / pulse, aramba as aguide to determine the initial knock
SENANDUNG BERTELUR KAU SINANGIN PADA MASYARAKAT MELAYU DI KOTA TANJUNGBALAI (STUDI TERHADAP BENTUK MUSIK, FUNGSI DAN MAKNA) Anshor, Arrini Shabrina
Grenek: Jurnal Seni Musik Vol. 6 No. 1 (2017): Grenek: Jurnal Seni Musik (June)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/grenek.v6i1.10961

Abstract

This study aims to find out about the musical forms You Sinangin laying humming,humming to determine the function of laying You Sinangin, and to know themeaning of chanting laying You Sinangin the Malay community in Tanjungbalai.The theory used in this study includes the understanding of music, musical forms,music functions, and the theory of meaning. The method in this study using aqualitative description. Data collection techniques used were interviewsobservation and documentation are made directly to pesinandong in Tanjungbalai.The population in this study is adatyang figure amounted to 4 people consisting of3 players Gubang musical instruments, and 1 person pesinandong. Results ofresearch and interviews show that this form of music in hum laying You Sinaginhas 7 motif in the 10 phrase, namely 5 phrases antecedent (question) and 5 phrasesconsequent (answer) and there are 5 sentence is a sentence I, sentence II, sentenceIII, sentence IV, and V. sentence humming laying function as accompaniment YouSinangin ceremony, an emotional disclosure functions and entertainment functions.And the meaning tekandung in humming laying You Sinangin consists of a feelingof meaning, the meaning of the tone and meaning of the goal.
KAJIAN MAKNA, NILAI DAN BENTUK LAGU TAWAR SEDENGE SEBAGAI LAGU SELINGAN DALAM UPACARA NASIONAL DI SMP NEGERI 1 TAKENGON KABUPATEN ACEH TENGAH Jayanti, Amalia Putri
Grenek: Jurnal Seni Musik Vol. 6 No. 1 (2017): Grenek: Jurnal Seni Musik (June)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/grenek.v6i1.10962

Abstract

Assessment Form, Meaning, Value song TawarSedenge As song interlude in National Ceremony in junior high school 1 CentralAceh district. Essay. Sendratasik majors. Music Education Program. Faculty ofLanguage and Art. Medan State University in 2015. This study discusses themeaning, value and form Tawar Sedenge song as the song interlude at a nationalceremony. The research was conducted in order Gayo society, especially theyounger generation can understand the meaning, value (meaning is the intentionof the song lyric bargaining sedenge, while the value is to assess the meaning of ameaning) and the form of songs bargaining sedenge as anthem Gayo people whoalways sung on the great days, especially at the national ceremony in SMP Negeri1 Takengon, Central Aceh district. The theory used in this research is the theoryof meaning that examines denotative and connotative meaning, value theory,which examines the theory of form sentences, phrases and motifs, which are veryuseful in the study. The method used in this research is descriptive qualitativemethod. Research location in SMP Negeri 1 Takengon, Central Aceh district. Thesample was a song that is sung sedenge bargaining as the song interlude in anational ceremony. The technique of collecting data through observation,interviews, documentation, and laboratory work. The data analysis techniqueused is descriptive qualitative analysis method that is accompanied by thepresentation of data and drawing conclusions. According to the research done, itcan be in the know that the meaning of the song bargaining sedenge based on themeaning of denotation and connotation contains a message to the communityGayo so grateful, and welfare of the land so that people Gayo Gayo rise andvictorious from the downturn. The value contained in the song bargainingsedenge adalan value can increase the sense of nationalism is love of thehomeland, which are vital values (education) and the spiritual (religious, beauty,culture) that have been arranged in a hierarchy. Tawar Sedenge song form thatAABBAABB, consisting of 2 forms or themes that form a sentence and thesentence B.
MUSIK BECANANG DALAM MALAM ADAT BEGURU PADA MASYARAKAT GAYO KECAMATAN BEBESEN, KABUPATEN ACEH TENGAH (Kajian terhadap bentuk penyajian dan bentuk musik) Arigustika, Dara
Grenek: Jurnal Seni Musik Vol. 6 No. 1 (2017): Grenek: Jurnal Seni Musik (June)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/grenek.v6i1.10963

Abstract

Becanang Traditional Music In The EveningBeguru in Gayo Society Bebesen Districts, District Central Aceh (Study of the form ofpresentation and form of music). Faculty Of Language and Art. Medan State University,2015.This research is a study about the existence of the forms of presentation becanangmusic and music form becanang the Gayo people in the District of Central Aceh DistrictBebesen. The purpose of this study was to determine the presence of music in the districtbecanang Bebesen, form of presentation and form of music in the evening becanangbeguru indigenous community in the district of Gayo Bebesen, District Central Aceh.Thisresearch is based on theoretical foundation to explain the meaning of existence,understanding forms of presentation, understanding forms of music, understanding nightbecanang indigenous communities beguru Gayo. The method in this study used aqualitative descriptive method. The sample in this study is penatuah customaryunderstanding of the cultural traditions of indigenous communities which are also GayoGayo people of Central Aceh district. This data collection is done by the method ofobservation, interviews, laboratory work and literature study. This study was taken at thesite of the District Bebesen, Central Aceh district and the research was conducted fromJune 2015 through to August 2015. The results showed that the presence in the districtBebesen becanang music still plays an important role in any wedding processionindigenous Gayo people which can be seen from its function, especially in the traditionalevening event Beguru to be a communication tool and as a sign that Beguru event tobegin. Form of presentation of music becanang played with several musical instrumentstradition and consists of Gegedem, cymbals, Memong and gong, music becanang has avery important role in every stage of the traditional events marriage Gayo society,especially on the eve of indigenous Beguru as a communication tool caller localcommunities and as a sign that the traditional evening Beguru begin. Becanang musicalform only play three different forms of rhythm alone, three rhythm is played in alternatingturns, the most prominent bring rhythm motif is gegedem, on Memong instruments,cymbals and gongs just follow it, cymbals used as a regulator of tempo.
BENTUK PENYAJIAN DAN BENTUK MUSIK RAPA™I PASEÉ PADA MASYARAKAT ACEH DI GAMPONG AWE KECAMATAN SYAMTALIRA KABUPATEN ACEH UTARA Fitriani, Desi
Grenek: Jurnal Seni Musik Vol. 6 No. 2 (2017): Grenek: Jurnal Seni Musik (December)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/grenek.v6i2.10964

Abstract

This research have purpose ti investigate the existence and the instruments used inRapa™i Pasee art at Gampong Awe Syamtalira subdistrict Nort Aceh regency. Thetheory used in this research including the explanation of the existence, the presentationfrom, explanation meaning of music, music elements, and the organology of musicinstruments.The population in thi research is music group of Rapa™i Pasee that consistof 16 players, they are 2 was called Syekh (leader), and 14 are music players. Thesample in this research is all population that consist 13 persons. The methods used inthis research is observation, interviewed, and documentation. The data processing andanalysis technic used quality deseriptive research type. The interview result showedRapa™i Pasee at Gampong Awe Syamtalira subdistrict North Aceh regency now was sointerested by people. The Rapa™i Pasee was showed as entertainment in some events,usually like independence day or in prophrt Muhammad Saw birthday or to wecome thecountry guests. The instruments used is Rapa™i Pasee (like rebana but in big size). Thepresentation from showed in Rapa™i Pasee played consist 4 chapter (scene), that isSaleum Aneuk Syahi/Cahi, Saleum Aneuk Rakan, Kisah (story) and closing scene.Rapa™i Pasee have own harmony, Rapa™i Pasee have music from one part, two partsnad three parts. Music from one part was sel up in Saleum Rakan and closing scene,two parts in Saleum Aneuk Syahi/Cahi, and three part was set up in Kisah scene
PEMBELAJARAN PERKUSI PADA EKSRAKURIKULER MARCHING BAND DI MAN 1 MEDAN HABIBI, MUHAMMAD RIZKI
Grenek: Jurnal Seni Musik Vol. 6 No. 2 (2017): Grenek: Jurnal Seni Musik (December)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/grenek.v6i2.10965

Abstract

In Extracurricular Learning Percussion Marching Band in MAN 1Medan. Faculty of Language and Arts University of Medan in 2015.This study aims to determine the learning percussion in extracurricularMarching Band in MAN 1 Medan, Iskandar Wlliam road no. 7BMedan. The experiment was conducted in February and March 2015.The method used in this research is descriptive qualitative method.Samples in this study are all members of the percussion players andcoaches totaled 14 people, amounting to one person percussion. Datacollection was conducted by literature study and field observations areinterviews and documentation. Once all the data collected, the data isanalyzed to answer all questions researchers. Analysis of the datapresented in the form of descriptive gradually in writing, thenclassified according to content or material concerned shall. After theanalysis conducted found that the learning outcomes percussionapplied by coaches in extracurricular Marching Band MAN 1 Theterrain is very nice and helpful for students. The students can readmusic well, signs of musical expression, know tempo. Courage anddiscipline of the students are also well embedded, so that the targetwhich is expected by the coach and the school can achieve its fullpotential.
BENTUK PENYAJIAN DAN FUNGSI MUSIK DALAM UPACARA THAU CHIT PADA AGAMA KHONGHUCU DI YAYASAN BUDI MULIA KECAMATAN LUBUK PAKAM KABUPATEN DELI SERDANG SINAGA, KRISTIAN
Grenek: Jurnal Seni Musik Vol. 6 No. 2 (2017): Grenek: Jurnal Seni Musik (December)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/grenek.v6i2.10966

Abstract

Presentation Form And Function In Ceremony Thau Music Chit On Confucian Religion inYayasan Budi Mulia Lubuk Pakam District of Deli Serdang. Faculty of Language and Art. StateUniversity of Medan. This study aims to determine rites Chit Thau, the usefulness of theinstrument, the form of presentation and function of music in Chit Thau ceremony at the Confucianreligion in Yayasan Budi Mulia Lubuk Pakam District of Deli Serdang. This study is based on atheoretical foundation that explains the sense of form, sense of presentation, understanding thefunction, understanding music, understanding, Thau ceremony Chit, and understanding ofConfucianism. This research was conducted at Yayasan Budi Mulia Lubuk pakam District of DeliSerdang in June to August 2015. The method in this research use descriptive qualitative researchmethods. The population in this study is saikong (prayer leaders), community, and musicians atthe ceremony Thau Chit Confucian Religion in Yayasan Budi Mulia Lubuk Pakam District of DeliSerdang, while samples totaling 28 people. Data collected through observation, interviews,documentation, and strudi literature. These results indicate that the rites Thau Chit divided intoeight parts, namely Huat Piau is cleaning the altar and sending letters to the god of hell. WangPai is a tribute to the gods of heaven. Old Phou is the process invites the god of the earth. TiauHun is the process of summoning spirits. Mong Ek is the process of bathing spirit. Iok Pai Wang isa tribute to the god of medicine. Sio Ui house burning spirit. And Koei Kio is the return of thespirit of the gods .. Uses istrument music at the ceremony Thau Confucianism is Choei Chit Khinand Er Hu as a carrier melody, as rithem drums, bells and la Bua carrier tempo. Form ofpresentation of the music at the ceremony Thau Chit Confucianism is divided into three parts,namely musical homage to the gods, notification to the spirit, and the spirit returns to music.There are three functions of the music at the ceremony Thau Chit Confucianism, which is afunction of aesthetic pleasure and emotional expression, communication function and endorsementof religious rituals and functions contributes to the continuity and stability of culture.
PEMANFAATAN LAGU-LAGU ANAK DALAM PEMBELAJARAN TEMATIK DI TK IPAC CHANDRA KUSUMA SCHOOL MEDAN Suheri, Eko
Grenek: Jurnal Seni Musik Vol. 6 No. 2 (2017): Grenek: Jurnal Seni Musik (December)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/grenek.v6i2.10967

Abstract

The world™s children are playing anywhere and any time, children always foundtime to play. The aim of this study, 1) to know learning thematic. 2) to know themethods used. 3) to know the results of thematic learning children™s songs. 4) todetermine the constraints faced by teachers. The study describes the theoryutilization of instructional media, Theory of children™s songs, thematic theorywhich explains the thematic is a complex model by combining multiple subjects ina single theme. The method used in this research is qualitative descriptivemethods. Data collected by literature study method, observation and observations,interviews, documentation and data analysis techniques. This study took place inIPAC Chandra Kusuma School Medan. Results utilization of thematic learning inearly childood. Thematic is a complex model by combining multiple subjects in asingle theme. Thematic learning outcomes that help the child to come forward andtheir expression in terms of singing and speech. Learning methods are usedlecture and demonstration methods. Constraints faced by teaching the differencein intelligence levels between children with one another. And the lack of effectivelearning time because the only available half an hour of learning.

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