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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 417 Documents
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Tabbhuwân Colo’: Tradisi Gamelan Mulut Masyarakat Nelayan Panarukan, Kabupaten Situbondo Panakajaya Hidayatullah
Grenek: Jurnal Seni Musik Vol. 14 No. 2 (2025): Grenek: Jurnal Seni Musik (December)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/grenek.v14i2.71324

Abstract

This article examines tabbhuwân colo’, an oral gamelan tradition practiced within the fishing community of Panarukan, Situbondo. This tradition realizes the structural principles and repertoire of Madurese gending through vocal sound and the human body, without the use of metal musical instruments. Drawing on ethnographic experience gained from sitting in a circle with senior practitioners, the article approaches tabbhuwân colo’ not merely as a form of vocal art, but as a collective musical practice rooted in fishing labor, embodied memory, and the history of Madurese migration from Sumenep to the northern coast of East Java.The study employs an ethnographic approach through participant observation, in-depth interviews, and audio-visual documentation, analyzed within the theoretical frameworks of oral tradition, sound ecology, and embodiment. The findings demonstrate that tabbhuwân colo’ functions as a structured musical system, with a division of sonic roles that imitate the functions of Madurese gamelan instruments, sustained through egalitarian social coordination and collectively distributed musical knowledge. Its musical complexity does not rely on individual virtuosity, but on shared capacities for listening, mutual adjustment, and the maintenance of sonic balance. Historically, tabbhuwân colo’ developed within the context of fishing labor—particularly during the tèra’an period—and functioned as work music, a medium of social cohesion, and an archive of collective memory. However, changes in fishing technologies, the contraction of collective work spaces, and shifts in the coastal soundscape have placed this tradition in a condition of serious endangerment.
Lagu Marsinondang Dibaen Jesus Karya Philip Paul Bliss: Analisis Bentuk dan Makna Lagu Emmi Simangunsong; Ance Juliet Panggabean; Ronald Heriko Saragih; Eston Hernandes P.
Grenek: Jurnal Seni Musik Vol. 14 No. 2 (2025): Grenek: Jurnal Seni Musik (December)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/grenek.v14i2.71700

Abstract

This study aims to analyze the form and meaning of the song Marsinondang Dibaen Jesus from the Ende HKBP book number 518 by Philip Paul Bliss. The song is sung by the congregation during Sunday services at the HKBP Church and other services. The song was composed by Philip after hearing a sermon from Dwight Lyman Moody about a storm that occurred at the Cleveland harbor docks which had two lighthouses, called the upper light and the lower light. The captain couldn't see the lower lights, which caused the ship to sink to the bottom of the sea. Only a small number of the crew survived, and most drowned. Based on Moody's account, Philip wrote the song "Let the Lower Lights be Burning." The song was then translated by missionaries into the Toba Batak language based on the meaning of the song and gave the song the title Marsinondang Dibaen Jesus (“shining because of Jesus”). This research used a descriptive qualitative method. The results showed that the song's form is binary (A, B) and has eight melodic motifs. The meaning contained in the song "Marsinondang Dibaen Jesus" states that God's faithful love must continue to be reflected in life, God's faithful love must continue to be expressed so that others can be saved and find the path to truth. The meaning of this song is emphasized by the use of non-verbal language, namely the time signature 3/2, andante tempo around ♩ = 75, crescendo ( < ) and decrescendo ( > ) signs, forte ( f ), ascending and descending motion. The use of these signs emphasizes the majestic character of the hymn, which strengthens the message of deep spiritual joy and the atmosphere of worship full of appreciation.
Eksistensi Doding Pada Kalangan Muda Simalungun Sapna Sitopu; Rahmatika Luthfiana Sholikhah; Rithaony Hutajulu
Grenek: Jurnal Seni Musik Vol. 14 No. 2 (2025): Grenek: Jurnal Seni Musik (December)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/grenek.v14i2.71708

Abstract

This research aims to describe the existence of Simalungun doding performed with inggou among the younger generation of Simalungun and analyze the factors that influence the continuity of this tradition. Using a qualitative approach, this research examines how Wallace & Srb's adaptation theory can explain the phenomenon. The results show that doding with inggou, as an integral part of Simalungun culture, has an important role in maintaining the identity and social values of the community. However, the existence of this tradition among the younger generation is increasingly diminishing due to the influence of modernization and globalization. The lack of understanding of the values contained in doding and the lack of conservation efforts are the main factors that cause this. This research concludes that strategic efforts are needed to revive the doding tradition with inggou among the younger generation, such as through education, socialization, and innovations that are relevant to the times.
Penggunaan Teknik Vokal Belting untuk Meminimalisir Vocal Fatigue pada Interpretasi Lagu Rapuh oleh Ainun Irsani Bimbi Adinda Alfian; Harpang Yudha Karyawanto
Grenek: Jurnal Seni Musik Vol. 15 No. 1 (2026): Grenek: Jurnal Seni Musik (June)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/grenek.v15i1.70813

Abstract

The use of vocal belting techniques is increasingly popular in Indonesian pop music because it can produce a strong, expressive, and powerful sound. However, its application has the potential to cause vocal fatigue if done without proper technique. This study explains the application of vocal belting techniques in the interpretation of the song Rapuh by Ainun Irsani as an effort to minimize the risk of vocal cord injury. The study used a qualitative descriptive method with data collection techniques through observation, documentation, and semi-structured interviews with Ainun Irsani and Adi Nugroho. Data analysis refers to the Miles, Huberman, and Saldaña model which includes data reduction, data presentation, and drawing conclusions. The results of the study indicate that the application of belting supported by breath control, resonance, body posture, articulation, and systematic vocal warm-ups can produce optimal sound quality without increasing the risk of vocal fatigue. External factors also influence the success of this technique. The research findings emphasize the importance of systematic belting technique learning by paying attention to technical, physiological, and vocal health aspects.
Artificial Intelligence dalam Pendidikan Musik: Anlisis Bibliometrik Berbasis Google Scholar 2021–2025 Urfan Saniylabdhawega Ridhwan; Azhardi Wisnugraha
Grenek: Jurnal Seni Musik Vol. 15 No. 1 (2026): Grenek: Jurnal Seni Musik (June)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/grenek.v15i1.71727

Abstract

This study aims to map the scientific development and trends of Artificial Intelligence (AI) in Music Education during the 2021–2025 period. Utilizing a bibliometric analysis of 200 high-impact articles retrieved from Google Scholar via Publish or Perish, the findings reveal a robust scholarly impact, accumulating 1,465 citations, an average of 7.33 citations per paper, and an h-index of 17. However, cross-disciplinary collaboration remains relatively low, as indicated by an author-per-paper metric of 1.73. The temporal dynamics demonstrate a substantial 300% surge in publications during the 2023–2024 transition, marking the onset of technological democratization and a substantive shift from conceptual theories to practical field implementations. Visual analysis through VOSviewer confirms a strong integration between the musical arts and computer science. This study successfully provides a novel theoretical roadmap that bridges the humanities and algorithmic sciences for the future. Through this mapping, it is proven that contemporary AI technology functions not merely as a supplementary tool, but as a learning partner that reshapes how music theory is taught, assists students in independent instrument practice, and shifts the role of music educators into technology facilitators. These evaluative insights offer an essential empirical guide for designing AI-based music curricula and directing future research agendas in the digital era.
Timurnesia: Rekonstruksi Identitas Kolektif dan Kedaulatan Kreatif dalam Rimba Algoritmik Musik Indonesia Timur Muhammad Ilham Mustain Murda; Zandry Aldrin
Grenek: Jurnal Seni Musik Vol. 15 No. 1 (2026): Grenek: Jurnal Seni Musik (June)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/grenek.v15i1.72516

Abstract

The increasing public attention to Eastern Indonesian music in the digital space has not been fully followed by equal recognition in national music policy, distribution, and industry. This study analyzes Timurnesia as a reconstruction of collective identity and an initial strategy for strengthening the creative richness of Eastern Indonesian music amidst industry centralization and the dominance of digital platforms. The study uses a qualitative approach with a reflective autoethnography method. The primary data comes from the author's field notes as a participant in the Focus Group Discussion "Roadmap for the Eastern Indonesian Music Ecosystem in National Cultural Policy" held by the Indonesian Ministry of Culture on January 27, 2026. Data are strengthened through forum documents, reflective memos, media, and digital traces. The results of the study indicate that Timurnesia is not simply a genre name, but a community forum and framework that consolidates Eastern Indonesian music practitioners. The study concludes that Timurnesia is still in the early stages of institutionalization, but has the potential to strengthen regional identity, digital resilience, and community-based cultural diplomacy
Proses Pembelajaran Vokal dengan Memanfaatkan TikTok sebagai Sumber Belajar Digital Erika Amelia; Riyan Hidayatullah
Grenek: Jurnal Seni Musik Vol. 15 No. 1 (2026): Grenek: Jurnal Seni Musik (June)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/grenek.v15i1.72943

Abstract

This study aims to describe the vocal learning process using TikTok as a digital learning resource, analyze its benefits in improving students' skills and motivation, and identify obstacles encountered in its implementation. Methods: This study used content analysis of 30 viral TikTok audio and videos in 2025–2026 to understand the relationship between vocal learning, digital learning resources, the learning process, and TikTok. Results and Discussion: The research findings indicate that TikTok can be an effective digital learning resource for vocal learning because it provides clear practice models, improves students' skills and motivation through interactive features, and allows flexible learning anywhere. Conclusion: TikTok can be used as an effective and innovative vocal learning medium, because it can improve students' skills, motivation, and learning flexibility.
Transmisi Budaya Orkes Gambus sebagai Praktik Pendidikan Musik Berbasis Komunitas di Desa Giham Balak, Lampung Barat Latifah Islmulyani; Riyan Hidayatullah
Grenek: Jurnal Seni Musik Vol. 15 No. 1 (2026): Grenek: Jurnal Seni Musik (June)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/grenek.v15i1.73065

Abstract

This This study aims to analyze the role of the Akkon Jejama Group Gambus Orchestra as a form of community-based music education in Giham Balak Village, West Lampung. The focus of the research includes the learning system, the process of knowledge transmission, the role of the community, and the educational values ​​contained in musical activities. This study uses a qualitative approach with descriptive methods. Data collection techniques were carried out through observation, interviews, and documentation. The results of the study indicate that the learning process in the community takes place informally through direct practice, imitation methods, and interactions between senior players and the younger generation. The community acts as an open and inclusive learning environment, thus supporting the natural development of members' musical abilities. In addition, the existence of the Akkon Jejama Group Gambus Orchestra also contributes to the preservation of local culture through the ongoing involvement of the younger generation. This study contributes to the study of community-based music education by demonstrating that traditional arts communities can function as effective learning spaces and as a means of preserving local culture. Thus, community-based music education in this group serves as an alternative learning model that supports the development of musical skills, strengthening social values, and the sustainability of traditional arts.
Ensiklopedia Interaktif Alat Musik Tradisional Nusantara Berbasis Website dengan Metode Multimedia Development Life Cycle (MDLC) Hendrotriyo Priambodo; Indar Sabri; Welly Suryandoko
Grenek: Jurnal Seni Musik Vol. 15 No. 1 (2026): Grenek: Jurnal Seni Musik (June)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/grenek.v15i1.73560

Abstract

This study developed a website-based interactive encyclopedia to introduce traditional Indonesian musical instruments in arts and culture learning in junior high schools. The research was motivated by the limited collection of traditional musical instruments in schools and the use of learning media that is still one-way and less interactive. The method used is the Multimedia Development Life Cycle (MDLC) with six stages: concept, design, material collecting, assembly, testing, and distribution. Data were collected through school observations, Google Form questionnaires, and in-depth interviews with arts and culture teachers in several junior high schools in Situbondo Regency. The developed product includes educational text, instrument images, authentic audio, real-time virtual instrument features, an AI-based dictionary, and an adaptive quiz game that can be accessed across multiple platforms without installation. The feasibility test results showed an average score of 93.8%, categorized as very feasible. These findings indicate that MDLC-based interactive multimedia is effective, contextual, and relevant for preserving traditional Indonesian music in the digital era.
Fungsi Bregada Musik pada Upacara Grebeg Karaton Surakarta Ade Ksatria Wanadri; Iwan Budi Santoso
Grenek: Jurnal Seni Musik Vol. 15 No. 1 (2026): Grenek: Jurnal Seni Musik (June)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/grenek.v15i1.73576

Abstract

This study examines the function of the music brigade in the Grebeg ceremony of the Surakarta Palace using Alan P. Merriam's Uses and Functions of Music theory. The music brigade is understood as a unit of musical soldiers present in Grebeg Maulud, Grebeg Syawal, and Grebeg Besar, which have similar functions and procession structures. The study used a qualitative descriptive method through direct observation, interviews, and field data analysis. The results of the study indicate that the music brigade not only plays a role as an accompaniment to the procession, but also carries out social, symbolic, and ritual functions. Music functions as a communication medium to provide cues for the stages of the procession, an expression of collective emotions, a driver of physical responses, a reinforcement of social norms, community integration through sound as a marker of the procession, and a symbolic representation of the power and greatness of the Surakarta Palace. The implementation of the music brigade takes place in three stages, namely the preparation of soldiers, respect and the procession journey, and completion at the destination of the ceremony. These findings confirm the position of the music brigade as a key element that regulates, enlivens, and gives meaning to the course of the traditional Surakarta ceremony.

Page 41 of 42 | Total Record : 417

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