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Jurnal Penelitian Musik
Published by Universitas Negeri Jakarta
ISSN : -     EISSN : 28071050     DOI : https://doi.org/10.21009/JurnalPendidikanMusik.52
Core Subject : Education, Art,
Arts Education
Jurnal Penelitian Musik is a publicly accessible journal published by Department of Music Education, Faculty of Languages and Arts, Jakarta State University (UNJ). Jurnal Penelitian Musik collaboration with Asosiasi Pendidik Seni Indonesia (APSI) and Asosiasi Profesi Pendidik Sendratasik Indonesia (AP2SENI). This journal is published twice a year, every March and August. This journal contains the results of music research in the fields of music education, music studies, composition, technology, media, psychology, performing arts, and others in music scope. Jurnal of Music Research can be a reference for academics, practitioners and researchers in scientific publications in the field of music.
Arjuna Subject : Seni dan Humaniora - Musik
Articles 84 Documents
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PEMBELAJARAN IMPROVISASI DALAM PERMAINAN GITAR ELEKTRIK BERBASIS CAGED SYSTEM DI ISTANA NADA MUSIC SCHOOL Syaputra, Wahyudi
Jurnal Penelitian Musik Vol 1 No 1 (2020): Maret 2020
Publisher : Program Studi Pendidikan Musik

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Abstract

The aim of this research is to discover appropriate method in teaching CAGED System applied within an electric guitar improvisation. The methodology of this research is qualitative descriptive research with an approach to the case study. The research was conducted at Istana Nada Music School Jl. Haji Nawi Raya since October 2018 to January 2019. The object of the research is an electric guitar instructor of Istana Nada Music School Development Class focalizing in Development Class. The result of this research shows that the instructor teaches his students with lecture method, demonstration, and drill method. Moreover, the instructor instructs the students to memorize CAGED system patterns on fretboard in order to play the scale, arpeggio and pentatonic also train using another root as well. Applying CAGED System in an improvisation affects the tone colour esulted from the play due to differences strings even in the same pitch although have a little deficiency. The media that have important role in teaching electric guitar improvisation are looper and backing track which are useful in guiding an improvisation. Mastering melody improvisation with triplet rhythm practice reflexes toward chord tone as well as student’s musicality in rhythmic aspect. Last but not least, music references frequently listened may affect the way students improvise their play.
ENKULTURASI: POLA PEWARISAN KESENIAN TARAWANGSA DI DESA WISATA RANCAKALONG Desandra; Saryanto; Supriadi, Didin
Jurnal Penelitian Musik Vol 1 No 1 (2020): Maret 2020
Publisher : Program Studi Pendidikan Musik

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Abstract

To maintain the Tarawangsa Art, real effort and appreciation must be made by the community, especially the younger generation, the government and also schools to inherit and preserve Tarawangsa Art so that this art will not become extinct and remain a cultural identity of Indonesia. One effort that can be done is through the regeneration of Tarawangsa Artists towards the young generation. The younger generation has a very important role in the preservation of Tarawangsa Art. The type of research method used in this study is qualitative ethnographic approach. Data collection was carried out using observations, in-depth interviews, literature studies and documentation. In the process of analyzing the data obtained there are several stages including data reduction, data presentation, and inference (verification). The results of research and data analysis in this study concluded that the process of inheritance of tarawangsa artistry carried out by Mr. Pupung applied a learning by doing approach, meaning that they learned the material provided through direct practical activities. In addition, there are 6 stages of learning in the process of inheritance carried out by Mr. Pupung, namely juntrung, ngararaba, nyoba-nyoba, mitemeyan, ngaderes, and hatam. The process of inheritance carried out by Mr. Pupung is by seeing and hearing, not using number notation.
PEMBELAJARAN EKSTRAKURIKULER PADUAN SUARA DI SMP NEGERI 172 JAKARTA Sigiro, Junner
Jurnal Penelitian Musik Vol 1 No 1 (2020): Maret 2020
Publisher : Program Studi Pendidikan Musik

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Abstract

This study aims to describe and develop the choir extracurricular enthusiasm in SMP Negeri 172 Jakarta in a descriptive qualitative manner. The topic of this writing is the learning process, facilities / infrastructure, teacher trainer, and choir member students. The choir training was held with programmed steps with a scheduled implementation time of Tuesday with 60 minutes allocated time starting at 14.00 - 15.00 WIB. The choir extracurricular learning activities in SMP 172 are a kind of choir namely female voice with two voices, soprano and alto, which apply basic vocal techniques including good posture when singing, breathing, solfegio exercises, pronunciation/articulation, correct phrasering exercises. Choir extracurricular learning includes; implementation planning, evaluation (evaluation) and carrying capacity of inadequate training room infrastructure
PERKEMBANGAN ANGKLUNG TOEL PADA TAHUN 2010-2019 DI SAUNG ANGKLUNG UDJO BANDUNG DITINJAU DARI ASPEK TEKNOLOGI Rossari, Fransisca Inneke
Jurnal Penelitian Musik Vol 1 No 1 (2020): Maret 2020
Publisher : Program Studi Pendidikan Musik

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Abstract

This study uses descriptive qualitative methods, with data collection techniques including interviews, literature study and documentation. This research was conducted at Saung Angklung Udjo Bandung. The object of this research is the musical instrument Angklung Toel. The purpose of this study was to determine the process of the development of angklung toel types in 2010-2019 at Saung Angklung Udjo Padasuka, Bandung. The results showed that Angklung toel is the latest creation of conventional angklung in general. There have been four developments of angklung toel types in terms of technology, namely Angklung toel 2010, the second development is Yanklung Toel 2013, the third development is The Great Angklung toel 2015 which is known as the piano angklung toel because its shape is almost similar to the shape of a piano instrument that has a board touch, the fourth development is The Great Yanklung Toel 2016. Angklung toel has been very much in demand by the public in entertainment events, especially in Bandung and is used in learning and the appearance of a work, from schools to tertiary institutions in Bandung.
TINJAUAN BENTUK KARYA SOLO PIANO “THE DANCER” CIPTAAN LEVI GUNARDI Haryandri, R.A. Endlessia
Jurnal Penelitian Musik Vol 1 No 1 (2020): Maret 2020
Publisher : Program Studi Pendidikan Musik

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Abstract

Abstract: The work of "The Dancer" very popular because of its uniqueness, namely solo piano works with thick nuances of traditional Balinese music. This work is the creation of composers from Indonesia that are rarely interested in researching, while this work is a unique work because there is a blend of nuances of Balinese music and pop music played on piano instruments. The research method used was descriptive qualitative research. The object under study was the score of Levi Gunardi's solo piano "The Dancer". Data analysis was performed by processing data relating to research. Stages in conducting data analysis include: (1) looking at source books about the history of music as well as source books about the form of music. (2) examines each of the smallest parts of Levi Gunardi's song "The Dancer". (3) reviewing the form of the song "The Dancer" by Levi Gunardi. the results of the study stated that Levi Gunardi's solo piano "The Dancer" consists of 153 bars using Balinese pelaton pentatonic scales namely Dang, Ding, Dung, Dong, Deng in B major tonality and has a 2-part song form which is divided into AB-A '-B'. The chord progressions contained in this work use chord progressions in the diatonic scale, while the melody remains consistent using the pentatonic pelog scale in B Major tonality, the tempo is slow but is played lightly and expressively. Piano playing techniques used include arpeggios, block chords, fingering
PATERN OF PASIEUP KACAPI INDUNG ON GUNUNG SARI TEMBANG CIANJURAN SONG FROM INSTITUTE INDONESIAN OF ARTS AND CULTURE muhamad agustiawan, muhamad agustiawan; Didin Supriadi, Didin Supriadi
Jurnal Penelitian Musik Vol 1 No 1 (2020): Maret 2020
Publisher : Program Studi Pendidikan Musik

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Abstract

Tujuan Penelitian ini adalah mengetahui bagaimana pola Pasieup Kacapi Indung pada Lagu Gunung Sari dalam Tembang Cianjuran di Institut Seni Budayya Indonesia.Metode Penelitian yang digunakan adalah metode deskriptif kualitatif. Waktu penelitian ini berlangsung dari bulan maret 2020 sampai juni 2020 dengan memilih tempat Institut Seni Budaya Indonesia untuk memperoleh data. Objek penelitian ini adalah Pola Pasieup Kacapi Indung pada Lagu Gunung Sari dalam Tembang Cianjuran. Hasil Penelitian ini adalah pola pasieup kacapi indung yang merupakan pola tabuhan dan teknik permainan kacapi indung. pasieup memiliki 14 pola yaitu, cacag, beulit, golosor, gulung, nunggu, merean, pangeran turun, ambahan, aweuhan, tutup, kulincer, kemprang barang, liliwatan, dan cindek. Pola-pola tersebut disesuaikan penggunaannya dengan lagu yang dibawakan, seperti salah satunya lagu Gunung Sari yang memiliki empat pola pasieup yaitu cacag: cacag 2, cacag 4, cacag 1. Merean: merean 1, merean 4, merean 5, merean 3. Nunggu: nuugu 1, nunggu 2, nunggu 4. Golosor: golosor 1 dan golosor 3dengan laras pelog/degung atau setara dengan tangga nada F# Mayor.
Pola Ritmik Tifa pada Tari Cakalele Giovan, Jeremy
Jurnal Penelitian Musik Vol 4 No 2 (2023): August 2023
Publisher : Program Studi Pendidikan Musik

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21009/JurnalPenelitianMusik.42.05

Abstract

The Aim of Study was to find out the rhythmic pattern of tifa in Cakalele Dance and to write the rhythmic patterns’ notation and to document in the form of scientific papers. The Research Method used to compile this research is the descriptive qualitative research method which explains the research object based on interview results, literature study, and video observation. This research was conducted on July 2018 until January 2020 in Jakarta and Bogor. The Study Result proves that the rhythmic pattern of tifa in Cakalele Dance has a very important role to organize the show course where tifa is the main instrument and the most important compared to the other instruments. There is one basic rhythmic pattern as a guide to accompany The Cakalele Dance, but as time goes along with human’s creativity then new rhythmic patterns were created as the variation of the basic rhythmic pattern itself. The rhythmic pattern of tifa in accompanying The Cakalele Dance tend to be constant and stabile, so there will not be any changes of rhythmic pattern during the show. The probability of rhythmic pattern change will only happen if there is a pause in the show course. The Implication of this research is the documentation of the rhythmic patterns’ notation of tifa which adjusted according to the hit shape as a learning and preservation source for general public especially artists and academicians who wanted to learn about the knowledge.
PENDIDIKAN KARAKTER MELALUI LAGU DI SEKOLAH DASAR Briantika Puspitasari, Francisca; Herdiati, Dian
Jurnal Penelitian Musik Vol 1 No 2 (2020): Agustus 2020
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Tujuan Penelitian ini adalah untuk mendeskripsikan lirik lagu anak yang digunakan di kelas I SDN Cijantung 03 Pagi Kecamatan Pasar Rebo, Jakarta Timur dalam Penguatan Pendidikan Karakter (PPK). Metode Penelitian yang digunakan adalah deskriptif kualitatif. Penelitian ini dilakukan di kelas I SDN Cijantung 03 Pagi Kecamatan Pasar Rebo, Jakarta Timur. Waktu penelitian ini dilakukan pada bulan Juni hingga Desember 2019. Data yang dikumpulkan merupakan hasil observasi, wawancara, kajian pustaka, dan dokumentasi. Hasil Penelitian ini menunjukkan bahwa Lirik lagu anak mempunyai peranan penting dalam Penguatan Pendidikan Karakter untuk siswa Sekolah Dasar. Dari 10 (sepuluh) lagu yang digunakan untuk semua lagu memenuhi 5 (lima) nilai karakter utama, sesuai dengan karakteristik anak, mudah dinyanyikan dan mudah dihafal. Lirik lagu yang mengandung nilai karakter Religius terdapat dalam lirik lagu “Membuang Sampah”, “Terima Kasihku” dan “Sebelum Kita Makan”. Nilai karakter Nasionalisme terdapat dalam lirik lagu “Membuang Sampah”, “Nama-Nama Jari” dan “Aku Anak Indonesia”. Nilai karakter Mandiri terdapat dalam lirik lagu “Membuang Sampah” dan “Sebelum Kita Makan”. Nilai karakter Gotong Royong terdapat dalam lirik lagu “Sayang Semuanya”, “Bunda Piara” dan “Kasih Ibu”. Nilai karakter Integritas terdapat dalam lirik lagu “Pergi Belajar” dan “Bangun Pagi”.
DOMESTIKASI PEREMPUAN MELALUI MUSIK PERKUSI TRADISIONAL CALEMPONG DI NAGARI UNGGAN SUMATERA BARAT DIPANDANG SEBAGAI REFRAIN Budiawan, Hery; Marh, Fahmi
Jurnal Penelitian Musik Vol 1 No 2 (2020): Agustus 2020
Publisher : Program Studi Pendidikan Musik

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Domestikasi Perempuan melalui Musik Perkusi dipandang Sebagai Refrain ini hasil penelitian seni pertunjukan musik, yang mana fokusnya lebih ke arah kedudukan perempuan sebagai perempuan pemain musik yang terkesan di “domestikasi”. Sedangkan musik “Calempong di Nagari Unggan menjadi sampel” untuk mencari apakah ada kemungkinan emansipasi atau subordinasi perempuan dengan menempatkan posisinya menjadi pemain calempong oleh kaum pria di Nagari Unggan, Kecamatan Sumpur Kudus, Kabupaten Sijunjung, Sumatera Barat. Perempuan yang bermain calempong ini adalah sumberinspirasi kajian untuk mengobjektifikasi pengalamannya sebagai pemain calempong di Nagari Unggan. Penelitian ini juga hasil analisis komposisi musik dan pola-pola pertunjukan calempong yang di pahami dari praktek musisi perempuan tradisi di Nagari Unggan.” Metode penelitian yang dipergunakan adalah kualitatif, metode ini untuk memahami fenomena tentang dinamika proses perubahan perean pemain musik terutama melalui pengalaman perempuan atau pemainnya. Baik pengalaman dalam pertunjukan maupun pengalaman secara musikal dari komposisi-komposisi calempong yang telah dimainkan. Jenis data yang digunakan adalah data primer dan data sekunder. Data primer diperoleh dengan mengamati pertunjukan calempong yang dilakukan perempuan secara langsung, mulai dari tahap persiapan pertunjukan, hingga setelah pertunjukan. Kemudian wawancara langsung dengan perempuan pelaku pertunjukan calempong, pembina kelompok pertunjukan, niniak mamak, alim ulama, cadiak pandai, bundo kanduang, kapalo mudo dan narasumber yang berkaitan pertunjukan calempong. Sementara data sekunder diperoleh dari berbagai tulisan, hasil penelitian, foto, dan rekaman audio visual (vcd dan DVD) pertunjukan calempong
TIPS IN LEARNING MUSIC FOR 4th GRADE WITH PIANIKA ; Hasianti, Grace; Martiati, Lucy
Jurnal Penelitian Musik Vol 1 No 2 (2020): Agustus 2020
Publisher : Program Studi Pendidikan Musik

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Tujuan penelitian ini adalah untuk mengetahui kiat-kiat dalam pembelajaran seni musik kelas IV SD dengan pianika. Waktu penelitian telah dilakukan pada bulan Maret sampai dengan Juni 2020 secara daring. Objek pada penelitian ini adalah Rancangan Pelaksanaan Pembelajaran (RPP) yang telah dibuat sedemikian rupa oleh peneliti. Dalam RPP terdapat pianika yang digunakan untuk mencapai tujuan pembelajaran. Metode penelitian yang digunakan dalam penelitian ini adalah kualitatif dengan pendekatan studi kepustakaan. Pengumpulan data dilakukan dengan mencari literatur baik sumber cetak maupun sumber internet, sedangkan instrumen penelitian ini adalah bahan dan format penelitian. Selain itu, teknis analisis data penelitian dilakukan dengan menganalisis isi sesuai konteks sehingga data yang diperoleh merupakan data yang valid. Hasil penelitian ini adalah Rancangan Pelaksanaan Pembelajaran (RPP) Pianika dan inilah yang menjadi kiat dalam pembelajaran musik pada kelas IV SD. Dalam RPP Pianika terdapat enam kali pertemuan dan setiap pertemuan terdapat langkah-langkah kegiatan pembelajaran yang wajib dilakukan, yaitu Kegiatan Pembuka (Apersepsi), Kegiatan Inti (Materi, Demonstrasi dengan pianika, Evaluasi), dan Kegiatan Penutup (Kesimpulan). Kiat ini selalu menggabungkan teori dan praktek musik. Jadi, pembelajaran seni musik tidak hanya bersifat teori saja, tetapi juga praktek.

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