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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 30 Documents
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Modernization the Cinema Medium through Visual Transformation of NOAH’s Album Remake Version Teddy Afriansyah; Meyrasyawati, Dewi; Dwi Riyanto, Edi
Jurnal Seni Musik Vol. 14 No. 1 (2025): June 2025
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/3dpv9n37

Abstract

This research discusses how NOAH gave a modern change (modernization) sentiment in video clips, so it can be enjoyable by fans of NOAH. The objectives are, 1) Explain the visual modernization change in NOAH’s video clips remake version; and 2) Explain the visual modernization that is able to reconstruct NOAH's identity. This research uses a qualitative method with a musicological approach. The research data was collected through virtual observation from video clips of NOAH’s remake music video. This research showed that 1) a visual comparison was conducted across six NOAH music videos comparing original and remake versions, such as "Bintang di Surga," "Khayalan Tingkat Tinggi," "Yang Terdalam," "Di Atas Normal," "Menghapus Jejakmu," and "Kota Mati." The analysis identified significant transformations across five dimensions: a) technological implementation, b) visual aesthetics, c) narrative structure, d) performer roles, and e) symbolic representation. Other than, 2) the modernization elements present in NOAH's remake album successfully reconstructed the band's identity as a cross-generational act through three strategic approaches: an aesthetic transition from "organic" to "digital" paradigms, implementation of visual hybridity strategies, and symbolic reinterpretation. So, the visual modernization effectively bridges generational divides, the transformation has not been without criticism from segments of NOAH's fanbase.
Arrangement of The Stambul Baju Biru Song By The Tjong Young Gita Citra Alam Keroncong Community Hunafa, Kinanthi Wedhatu; Rachman, Abdul
Jurnal Seni Musik Vol. 14 No. 1 (2025): June 2025
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jsm.v14i1.26391

Abstract

The Keroncong Community of Tjong Young Gita Citra Alam represents a successful effort to preserve the cultural heritage of keroncong music through experimental arrangement innovations, without losing the traditional character of the keroncong stambul style. This study aims to identify and describe the harmonic arrangement of Stambul Baju Biru by Tjong Young Gita Citra Alam. Data collection techniques employed a qualitative methodology with a musicological approach, including non-participant observation, interviews, and document studies. The findings reveal that the arrangement of Stambul Baju Biru incorporates additional sections such as an intro, a coda, and a solo voorspél, with the harmonization expanded experientially. From these findings, it can be concluded that the harmonization of Stambul Baju Biru is dominated by variations of chromatic chords, inversions, and slash chords, which are seamlessly connected vertically and horizontally. This harmonic complexity supports the expressive range of the song and facilitates smooth chromatic transitions between its sections.  
Cultivating Congregational Music Talents: Band Training Strategy in GKJ Sampangan Kradenan Ramaputra, Nathaniel Dhiar; Susetyo, Bagus
Jurnal Seni Musik Vol. 14 No. 1 (2025): June 2025
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jsm.v14i1.26786

Abstract

This research examines the band music training strategy at GKJ Sampangan Kradenan, Semarang, as a community learning phenomenon without a permanent trainer and formal curriculum. The phenomenon shows how the church community can nurture the musical talents of the congregation through a flexible, collaborative, and participatory approach. The research used a descriptive qualitative method through a case study, using participatory observation, interviews, and documentation techniques. The results show that the band music training in this church relies on the spirit of cooperation, collective responsibility, and shared learning practices that demonstrate the principles of Community of Practice (Wenger, 1998). Although informal, this strategy proved effective in building team cohesiveness, improving musical quality, and fostering active participation from various layers of the congregation in church music ministry.
The Effectiveness of Musical Accompaniment as a Medium for Vocal Instruction at Hafid Vocal Academy Asmarani, Kidung Sukma; Bahtiar, Hafid Zuhdan
Jurnal Seni Musik Vol. 14 No. 1 (2025): June 2025
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jsm.v14i1.29488

Abstract

This study aims to determine the effectiveness of using musical accompaniment as a medium for vocal instruction at Hafid Vocal Academy. The data were collected using a qualitative case study approach, employing several techniques including observation, interviews with vocal instructors, and documentation of learning activities. Data analysis was conducted through data reduction,  presentation, and conclusion drawing. The validity of data was strengthened through triangulation techniques. The study's findings show that using musical accompaniment as a medium for vocal instruction at Hafid Vocal Academy has proven effective in enhancing several aspects. Based on the findings, these aspects include: first, increased student motivation and enthusiasm in participating in the lessons; second, improved vocal technique; third, enhanced expression and song interpretation through musical accompaniment; and finally, increased student engagement in the learning process.       
Organology of Gong Gumbeng Instrument in Wiringanom Village Sambit Ponorogo Sari, Monika Dewi Indah; Nur Salim, Muhammad
Jurnal Seni Musik Vol. 14 No. 1 (2025): June 2025
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jsm.v14i1.29792

Abstract

This research aims to determine the organology of making Gong Gumbeng from the beginning until it can be used. The problem focuses on (1) the process/stages for selecting the materials and tools. (2) Second, what is the process of making Gong Gumbeng  (3) Third, what is the process of aligning the Gong Gumbeng (4) Fourth, what is the function of the Gong Gumbeng in the Wringinanom community. To approach this problem, a theoretical reference from Sri Hendarto entitled Organology and Acoustics I&II is used, which in the book reveals the materials and tools used in making a musical instrument, the process of making a musical instrument, tuning musical instruments, and the function and role of musical instruments. The method used in this research is qualitative research with descriptive analysis. Data was collected through observation, interviews, and literature study. This study concludes that the Gong Gumbeng is an important musical instrument for the Wringinanom people. This research also reveals the process of making the Gong Gumbeng musical instrument, the tools and materials used, the tuning process, and the role and function of the Gong Gumbeng musical instrument for the Wringinanom community.                               
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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