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(JSM) Jurnal Seni Musik
Published by Universitas Negeri Semarang
ISSN : -     EISSN : 25032860     DOI : https://doi.org/10.15294/jsm
Core Subject : Art,
Arts
Jurnal Seni Musik [p ISSN 2301-4091 | E ISSN 2503-2860] is a peer reviewed journal. Jurnal Seni Musik welcomes articles which report on and discuss research and methodological issues from the point of view of philosophy, sociology, psychology and comparative studies. The journal is concerned with the dissemination of ideas relating to practical and theoretical developments in the field.
Arjuna Subject : Seni dan Humaniora - Musik
Articles 5 Documents
 1 
Search results for , issue "Vol. 14 No. 2 (2025): December, 2025" : 5 Documents clear
Exploring Students’ Experiences at the Eastern Cape Voice Symposium Ngobeni, Nyiko Condry; Mthinmkhulu , Njabulo Sifiso
Jurnal Seni Musik Vol. 14 No. 2 (2025): December, 2025
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jsm.v14i2.33727

Abstract

The Eastern Cape Voice Symposium brought together 21 voice students from Nelson Mandela University, Rhodes University, and the University of Fort Hare, alongside lecturers from these institutions and Walter Sisulu University, as well as three prominent African composers. This study investigates the educational and artistic impact of the symposium on students’ development, and how collaboration among lecturers and composers shaped students’ understanding of African vocal music. Employing a qualitative case study design, data were collected through semi-structured interviews with nine students who voluntarily participated in the research. While 21 students attended the symposium, only nine responded to the interview questions and reflected on their experiences. Thematic analysis was used to explore themes of academic growth, performance development, and cultural engagement. Findings indicate that the symposium enhanced students’ vocal technique, artistic confidence, and appreciation for African compositions. Students also valued exposure to diverse pedagogical approaches, cross-institutional collaboration, and the mentorship of African composers. The event fostered critical reflection on African identity and practice in voice training. This study recommends institutionalising similar symposia as platforms for collaborative learning, cultural exchange, and curriculum transformation. It contributes to current scholarship by demonstrating the potential of short-term, immersive educational events to support decolonised, culturally responsive music education in South Africa.
Analysis Song Lyrics Of Towi-Towi As Social Criticism In Nias Society Waruwu, Happy Majesty; Kartini R.M. Manalu; Simangunsong, Emmi
Jurnal Seni Musik Vol. 14 No. 2 (2025): December, 2025
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jsm.v14i2.36456

Abstract

This study explores the meaning of the song Towi-Towi, composed by Piet Harefa, as a form of social criticism against the customary marriage law (fondrakö) of the Nias people. Written in the 1960s and later popularized by Ayu Zega in 2014, the song reflects the social struggles of Nias women who face difficulties in marriage due to the high böwö (bridewealth) determined by bosi (social status) within the traditional system. The research adopts a qualitative descriptive method supported by discographic study, literature review, and observation. Schleiermacher’s hermeneutic theory serves as the analytical framework to interpret the composer’s intention and to uncover the symbolic meanings embedded in the lyrics. The use of personification through the towi-towi bird, a local symbol of good news, becomes a poetic device through which Piet Harefa expresses the anxiety, hope, and criticism toward rigid customary norms. The findings reveal that Towi-Towi functions not merely as entertainment but as a medium of reflection and social protest that exposes gender inequality, materialism, and the moral burden imposed by the fondrakö system. The song also portrays the paradox between cultural pride and socio-economic suffering, especially among men who must comply with the demanding expectations of the traditional marriage structure. As a cultural text, Towi-Towi represents a form of musical resistance that questions the moral and ethical relevance of traditional values in a changing modern context. Thus, the song embodies both aesthetic and socio-political significance in the collective consciousness of Nias society. 
From Tradition to Liturgy: Exploration of Rodat Music in the Context of Catholic Church Music Yohanes Ruswanto
Jurnal Seni Musik Vol. 14 No. 2 (2025): December, 2025
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jsm.v14i2.38239

Abstract

Abstract   Liturgical singing in local languages is increasingly rare in Eucharistic celebrations, particularly in forms that incorporate percussion-based accompaniment. This study aims to develop a new Javanese liturgical composition entitled Minulya to enrich musical expressions of praise and provide alternative accompaniment models rooted in local tradition. The work adopts the musical idiom and instrumentation of Rodat, a traditional performing art from Central Java. Using a qualitative approach and literature study, data were collected through textual analysis, observation, and interviews with Rodat artists in Bungkel Hamlet, Pucung Village, Bancak District, Semarang Regency. Musical materials, especially rhythmic patterns, were documented and transformed into notated compositions. Structural, musicological, and lyrical analyses were conducted to examine the resulting work. The findings demonstrate that integrating regional musical traditions into liturgical contexts expands creative possibilities and affirms the universal function of music in religious practice. The composition Minulya offers an alternative model of Javanese-language Eucharistic singing with percussion-based accompaniment, contributing to the preservation and contextualization of local culture in liturgical music.
Aesthetic Receptivity in Cirebon Mask Music: Analyzing the Correlation Between Rhythm and Motion Irniatie Wanda; Sunarmi; Sarwanto
Jurnal Seni Musik Vol. 14 No. 2 (2025): December, 2025
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jsm.v14i2.40261

Abstract

This phenomenological study investigates the receptive aesthetics in the accompaniment music of Cirebon Mask Dance (Tari Topeng Cirebon), focusing on the perceptual dynamics of rhythmic beauty and percussive patterns and their intricate correlation with dance movements. Employing Interpretative Phenomenological Analysis (IPA) within a qualitative framework, this research explores how mask dancers and musicians interpret and respond to specific percussive patterns fundamental pulse, accented strike, and melodic-rhythmic ornamentation as complex aesthetic stimuli that fundamentally shape movement quality and character embodiment. The findings reveal a sophisticated audio-kinesthetic aesthetic system where beauty emerges from precise intersubjective synchronization between sonic impulses and kinetic energy release, mediated by culturally encoded bodily awareness and affective resonance. This study addresses a critical gap in existing literature by privileging insider (emic) perspectives often marginalized in structural and symbolic analyses. The research contributes to performance theory by proposing an integrated "audio kinesthetic receptive framework" and offers practical implications for culturally responsive pedagogy in traditional arts education, emphasizing the necessity of integrative dance and karawitan curricula to preserve the receptive sensitivity that constitutes the performative essence of this intangible cultural heritage
Traditional Music in Pop's Grip: The Congdut Evolution and Regional Music Transformation by Jujuk Eksa Hutomo Ardi, Dony; Raharjo, Eko
Jurnal Seni Musik Vol. 14 No. 2 (2025): December, 2025
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jsm.v14i2.40881

Abstract

This research examines the evolution of Indonesian traditional music in response to the influence of globalization and technological advancements, with a focus on the emergence of the Congdut genre as a result of the hybridization between dangdut and keroncong, initiated by Jujuk Eksa. Through a descriptive qualitative approach, incorporating observation, interviews, and documentation techniques at JX Studio, Demak, this study analyzes the creative process, musical structure, and artistic philosophy behind the creation of Congdut. The survey results show that Congdut is not just a mixture of two genres, but a form of third space that combines the rhythmic energy of dangdut with the harmonious complexity of keroncong, thereby creating a dynamic and relevant new cultural identity. Congdut acts as a revitalization strategy to overcome the stagnation of keroncong music while cleaning the image of dangdut from social stigma. Its socio-cultural implications reflect the ability of traditional music to adapt and survive in the modern era through a creative dialogue between tradition and modernity. The sustainability of Congdut depends on its adoption by the younger generation, integration into digital platforms, and the potential for integration into music education.

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