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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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Kesenian Rapa’i Bubee: Realisme Magis dalam Seni Tradisi Masyarakat Pidie Jaya Tria Ocktarizka; Rizki Mona Dwi Putra; Erlinda
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.v15i1.73604

Abstract

Rapa'i Bubee is a traditional art form from Meureudu, Pidie Jaya Regency, which represents an oral narrative about the efforts of religious scholars to conquer Jin Pari through rapa'i percussion and traditional media such as aree, jeuee, and bubee. This study aims to describe the transformation of function, structure, and mystical meaning in the Rapa'i Bubee performance. The study used a qualitative descriptive method with data collection techniques through observation, interviews, and documentation studies. Data analysis was carried out through the stages of reduction, presentation, and drawing conclusions. The results show that Rapa'i Bubee has undergone a transformation from a supernatural healing ritual to entertainment and a medium for historical education. Elements considered contrary to Islamic teachings, such as the burning of incense, have been removed without losing the cultural identity of the performance. Despite the change in function, the magical dimension is still apparent through the phenomenon of trance of the performers who are controlled by the Caliph through the regulation of the tempo of the percussion as a symbol of the conquest of astral beings.
Pedagogical Transformation in Audiovisual-Based Vocal Learning: Evidence from a Pre-Experimental Triangulation Study Delvia Mona; Yensharti; Mia Fahmiati
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.v15i1.73625

Abstract

This study examined pedagogical transformation in audiovisual-based vocal learning within digital music education, focusing on reflection, self-directed learning, learning interaction, student engagement, and vocal competence. A pre-experimental one-group pretest-posttest design with a concurrent triangulation approach was used. Thirty-two fifth-semester students completed a 12-week intervention involving vocal technique videos, self-directed practice through performance recordings, video-based reflection, and synchronous and asynchronous feedback. Data were collected using a pedagogical transformation instrument and objective vocal competence assessments by two independent evaluators. Analysis applied paired-samples t-tests, Cohen’s d, and Pearson correlation. Results showed significant improvements in all pedagogical indicators and vocal competence dimensions (p < .001). Reflection showed the largest gain (d = 2.13), followed by self-directed learning (d = 1.87). Changes in pedagogical indicators correlated strongly with vocal competence development (r = .74, p < .001). The findings highlight reflection, self-directed learning, and engagement as key dimensions in digital vocal learning.
Transformasi Narasi Anak Indigo dalam Komposisi Musik Nusantara Berbasis Pendekatan Eksperimental-Kontemporer Ibrahim Lubis; Rizki Mona Dwi Putra; Rezki Aulia; Afdal Anas
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.v15i1.73626

Abstract

"Indigo" composition music is a kind of music that inspired by indigo phenomenon. They are a kid who are generally difficult to manage by power, hard to compromise, more emotional. Other characteristics that clearly indigo child has is an ESP, can saw a creatures or pure materials that are not caught by the senses of ordinary vision. This advantages made an indigo children had some difficulty in socializing with the family, society and felt confused, usually they didn’t know how to act and because of that they are ussualy capped as a mockery. as coming ridicule from others. This music are trying to contribute to the society without any physical discrimination. Formulating the concept is an important patron for composer to work in the progress to make the music, the formulation of the idea are focused on the indigo phenomenon itself, how to create a music from indigo phenomenon. Step by step in are being through to create this music , starting from the contemplation and observation, survey and interview, the determination of fund tool materials, the making of conceptual framework, the rehearsal training process part I, part II, part III, part IV, and technical evaluation of the work form , Artistic, lighting and loudspeakers.
Representasi Identitas Budaya Musi Banyuasin pada Garap Musik Tari Puyang Putri Rinai Gregori Rahim Yuli Riadi; Teti Darlenis; Geardena Putra Yuli Riadi
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.v15i1.73643

Abstract

The Puyang Putri Rinai Dance is a performing art work inspired by the legend of Puyang Putri Rinai Munai in Sungai Lilin District, Musi Banyuasin Regency. This study aims to describe the musical composition of the Puyang Putri Rinai Dance and analyze the representation of Musi Banyuasin cultural identity contained therein. The study uses a qualitative method with a descriptive approach. Data were collected through observation, interviews, documentation, and literature studies, then analyzed using an interactive analysis model. The results show that the musical composition is played live using Malay drums, gongs, accordions, keyboards, bass, drum pads, and darbuka. The musical structure is arranged according to the needs of choreography and dramatic flow and adapts the nuances of Gending Sriwijaya as a representation of South Sumatran Malay culture. Musi Banyuasin cultural identity is represented through the legend of Putri Rinai, a symbol of female heroism, the Dawas River, and Malay musical elements. Thus, music functions not only as dance accompaniment, but also as a medium for preserving and strengthening local cultural identity.
Strategi Pembelajaran Talempong Pacik bagi Siswa Disabilitas Intelektual di SLB Negeri 1 Padang Cecep Permana; Zaharul Lailiddin Bin Saidon; Sajastanah Bin Imam Koning
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.v15i1.73975

Abstract

This study aims to describe the implementation of traditional music learning, talempong pacik, for students with intellectual disabilities at SLB Negeri 1 Padang. The focus of the study includes learning strategies, obstacles, and the resulting impacts. The study used a descriptive qualitative approach. Data were collected through semi-structured interviews with music teachers as key informants, as well as observation and documentation for triangulation. Data analysis refers to the Miles and Huberman model, namely data reduction, data presentation, and conclusion drawing. The results show that talempong pacik learning is implemented adaptively according to students' cognitive and motor abilities. The strategies used include exposure, practice, individual approaches, visual cues, and direct practice. The main obstacles include limited concentration, low memory, and limited learning media. This learning has a positive impact on students' motor coordination, concentration, self-confidence, and social interaction. Talempong pacik has the potential to be a medium for cognitive, affective, and psychomotor development.
Beyond Virtuosity: Reconsidering the Compositional Autonomy of Agustín Barrios Mangoré and the Performer-Composer Binary in Classical Guitar Scholarship - A Case Study of La Catedral Lim Chien Hu; Herry Rizal Djahwasi; Zaharul Lailiddin bin Saidon
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.v15i1.74079

Abstract

Agustín Barrios Mangoré (1885–1944) is frequently described in classical guitar scholarship as a “performer-composer,” yet this category often remains undertheorized. This article argues that the label carries assumptions shaped by the Romantic work-concept, which privileges composition as authoritative and treats performance as secondary. Such a framework risks reducing Barrios’s compositional thought to virtuoso technique and judging his music through European canonical standards. Drawing on Lydia Goehr’s theory of the historically constructed work-concept and Nicholas Cook’s idea of performance-as-analysis, this study examines La Catedral (1921/1938). The analysis identifies structural decisions that exceed idiomatic guitar writing: the harmonic voice-leading of Preludio Saudade, the three-voice Baroque counterpoint of Andante Religioso, and the chromatically intensified formal design of Allegro Solemne. The article concludes that Barrios’s music demonstrates compositional intelligence grounded in performance but not subordinated to it, offering a broader model for evaluating non-European classical guitar repertories.
Representasi Taktil sebagai Strategi Adaptif dalam Pembelajaran Notasi Musik bagi Mahasiswa Disabilitas Netra: Studi Kasus pada Mata Kuliah Teori Musik Reizki Habibullah; Winny Chrisan Alya
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.v15i1.75080

Abstract

Learning music notation for visually impaired students faces challenges because the staff system and accidental markings are presented visually. This study aims to examine the use of tactile representation as an adaptive strategy in the Music Theory course in the Ethnomusicology Study Program at the Indonesian Institute of the Arts, Surakarta. The study used a qualitative approach with a case study design. Data were obtained through observation, in-depth interviews with lecturers and visually impaired students, and documentation, then analyzed thematically. The results showed that lecturers used the five fingers of the left hand to represent the five lines of the staff, while variations in finger touch were used to introduce accidental markings. This strategy allows students to understand pitch positions through tactile and auditory experiences without the need for special aids. Although effective for basic material, this method is still limited to certain learning contexts. The research findings emphasize the importance of adaptive pedagogical innovation in creating inclusive and equitable music theory learning for visually impaired students.

Page 42 of 42 | Total Record : 417

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