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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 39 Documents
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Analysis Of Playing Technique On Flute Musical Instrument From The Russisches Zigeunerlied Repertoire By Wilhelm Popp Mikael Gega Krisareo; Antonius Edi Nugroho
Jurnal Seni Musik Vol. 15 No. 1 (2026): Vol. 15 No. 1 (2026): June, 2026
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jsm.v15i1.31912

Abstract

This research aims to describe the playing techniques used and applied to the flute instrument in the Russisches Zigeunerliedrepertoire by Wilhelm Popp which is expected to improve the quality of flute practitioners in playing the flute instrument. The method used in this research is qualitative research. The focus of this research is to find out how and what are the processing of playing techniques used on flute instruments in Wilhelm Popp's Russisches Zigeunerlied repertoire by using data collection techniques such as documentation and literature study. The results showed that the playing techniques used on the flute instrument in the Russisches Zigeunerlied repertoire predominantly used Legato, Staccato, Legato-staccato, Accent, and Acciacatura techniques. In addition to the above techniques, flute players must also pay attention to which parts there are signs to take a breath with the right breathing technique, so that the flow of the repertoire played sounds clearly one whole sentence is not interrupted.
Gadamer’s Hermeneutics in the Lyrics of the Song ”Si Paling Mahir”by Raisa Andriana Nisa Rahma Puspita; Egidius Bagas Pinasthiko Aji
Jurnal Seni Musik Vol. 15 No. 1 (2026): Vol. 15 No. 1 (2026): June, 2026
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jsm.v15i1.37920

Abstract

This study aims to interpret the meaning of Raisa Andriana’s song “Si Paling Mahir” using Hans-Georg Gadamer’s hermeneutical approach. Employing a qualitative case study with an interpretive design, the study analyzes the lyrics and their socio-cultural context. Data were obtained from the song lyrics, audio transcripts, academic literature on Gadamerian hermeneutics, the music video, and public responses on digital platforms. Data were collected through documentary study and observation, then analyzed through data reduction, data display, and conclusion drawing. The findings indicate that the song’s meaning emerges through the interaction between the text and listeners’ lived experiences. Four hermeneutical dimensions are identified: historically, the lyrics reflect the tendency to display happiness on social media; dialectically, “always being fine” functions as an exhausting defense mechanism; prejudice reveals the cultural expectation to suppress negative emotions; and the fusion of horizons reconciles responsibility toward others with the need for self-care. The study contributes a hermeneutical model for interpreting Indonesian popular music.
Javanese Karawitan as a Reinforcement of Dramaturgy in Wayang Kulit Performance at Ngampel Wetan Village, Ngampel Sub-District, Kendal Regency Kristian Kevin; Irfanda Sejati
Jurnal Seni Musik Vol. 15 No. 1 (2026): Vol. 15 No. 1 (2026): June, 2026
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jsm.v15i1.38612

Abstract

Wayang kulit (a shadow puppet) is a traditional Javanese performing art that combines elements of music, literature, and spirituality. Within this art form, karawitan serves not as mere musical accompaniment but as a vital element that shapes the dramatic atmosphere and depth of meaning in the performance. This study aims to understand the role of karawitan in strengthening the dramaturgical structure of the shadow puppet performance, Lakon Wisanggeni Krida, by Ki Bayu Aji in Ngampel Wetan Village, Kendal Regency. Using an ethnomusicological approach, this research employs participatory observation, in-depth interviews with the dalang (puppeteer) and pengrawit (gamelan musicians), and musical structure analysis. This study comes from the context of a performance held within the merti desa ritual, a social space where traditions, religiosity, and aesthetic expressions of rural communities meet. The intuitive interaction between dalang and pengrawit creates a balance between structure and spontaneity, musical form and inner experience. Therefore, karawitan not only enhances the dramaturgy of the performance but also reflects the values of harmony, togetherness, and spirituality in Javanese society.
Vocal Technique Based Choir Training Model in Choral Sound Formation: A Study at Soegijapranata Catholic University Choir, Semarang Brigita Prilinggar Kinanti; Hafid Zuhdan Bahtiar
Jurnal Seni Musik Vol. 15 No. 1 (2026): Vol. 15 No. 1 (2026): June, 2026
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jsm.v15i1.47374

Abstract

This study examines the training model of choir vocal techniques in forming choral sound in the Gratia Choir of Universitas Katolik Soegijapranata. This research uses a descriptive qualitative, with data collected through observation, semi-structured interviews, and documentation. The research subjects included the conductor, the executive board, and members of each voice section. Data analysis was conducted through data reduction, data presentation, and drawing conclusions. The results of the study indicate that the training procedures at the Gratia Choir are structured, gradual, and continuous, beginning with initial selection, the New Comers Concert (NCC), recitals, regular rehearsals, and culminating in competitions. Training focuses on classical vocal techniques and mastery of basic singing techniques. Achieving blending and balancing is accomplished through the practice of listening to one another and aligning perceptions of sound under the conductor’s guidance. The success of this process is supported by the conductor’s role, the quality of human resources, and the arrangement of formations that support sound balance.                                                                  
Transformational Creativity in the Process of Creating Musical Works by Students of the Music Composition Programme at ISI Yogyakarta Maria Octavia Rosiana Dewi; Gabriella Charis Hariyanto
Jurnal Seni Musik Vol. 15 No. 1 (2026): Vol. 15 No. 1 (2026): June, 2026
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jsm.v15i1.47845

Abstract

Departement of Music Composition ISI Yogyakarta has a vision and mission to be a center of the development of the music compositions, which pays attention to music in general and also Indonesian traditional musical idioms. Lack of interest to learn and get know Indonesian traditional culture has resulted in the erosion of elements of traditional music and becomes a challenge for students to carry out the vision and mission. This qualitative research examines the basic ideas and foundations of creation in student music work as well as an overview of the creativity process in combining elements of Indonesian traditional music idioms with western music concepts. The samples are four final projects of students who have passed and are selected based on indications of the use of traditional music idioms which are visible in the title of works. The result is there are basic ideas related to the music traditions of their hometowns. In the process of making the works, the four students performed transformational creativity, by changing the existing domain, in this case the musical elements of tradition, and adding and combining the other domains of western music elements, resulting in new and imaginative music works.
Effects of Personalized Prosodic Sentences and Isomorphic Melodies on Children's Brain Activity Henry Y. Oktadus; Indra Kusuma Wardani; Adityo Legowo; Ahmad Yaqin
Jurnal Seni Musik Vol. 15 No. 1 (2026): Vol. 15 No. 1 (2026): June, 2026
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jsm.v15i1.49038

Abstract

This study examined the effects of personalized speech and melodic stimuli on brain activity in 19 children using a within-subject quasi-experimental design and single-channel EEG. Participants listened to prosodic sentences and isomorphic melodies mimicking prosodic features. Gamma, alpha, and theta activity were compared across conditions. No significant differences were found in alpha (Z = −0.322, p = 0.748) or theta (Z = −1.328, p = 0.184), while gamma activity was significantly lower during melody than prosody (Z = −2.133, p = 0.033, r = 0.49). The findings suggest partially overlapping neural processing of speech and music, with higher gamma activity during prosody indicating greater demands for integrating acoustic and linguistic information.
Implementation of a Technology-Based Deep Learning Model in Music Theory Instruction: A Classroom Action Research Study at SMA Negeri 45 Jakarta Louis Da Valentia Mesdilla; Rien Safrina; Barkah Bangkit Wijaya
Jurnal Seni Musik Vol. 15 No. 1 (2026): Vol. 15 No. 1 (2026): June, 2026
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jsm.v15i1.57816

Abstract

Music theory instruction at the senior high school level is frequently delivered through conventional, memorization-based methods, which tend to limit engagement and motivation among today's digital-native students. This study aims to describe teachers' strategies in implementing a Deep Learning Model grounded in three principles — Mindful, Meaningful, and Joyful — and to analyze its impact on students' music theory learning outcomes with the support of the MUSSICA web-based learning platform. The study employed the Kemmis and McTaggart Classroom Action Research (CAR) model, conducted across two cycles involving 41 students of class XI-E at SMA Negeri 45 Jakarta. Data were collected through participatory observation, semi-structured interviews, Google Form-based achievement tests, and a Deep Learning reflection instrument, then analyzed qualitatively using the Miles and Huberman model of data reduction, display, and conclusion drawing. The results show that the mean learning outcome score increased from 63.02 on the Cycle I Post-Test to 82.34 on the Cycle II Post-Test, with the classical mastery percentage rising from 41.5% to 85.4%, surpassing the predetermined success indicator of 80%. The Deep Learning reflection instrument yielded a mean score of 61.8 out of 75 (high category), with the Joyful dimension scoring highest. This study affirms the relevance of the Deep Learning Model as a pedagogical instrument within Indonesia's Kurikulum Berdampak and offers a practical implementation model for technology-based music education in secondary schools.
Traditional Bamboo Music Training for the Elderly: A Geragogi Review in the Mitra Seni Indonesia Community Aera Altaf; Rien Safrina
Jurnal Seni Musik Vol. 15 No. 1 (2026): Vol. 15 No. 1 (2026): June, 2026
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jsm.v15i1.57834

Abstract

Music training through the art community can be used as an alternative forum for meeting the social needs of the elderly amid the limitations of similar programs in Indonesia. This study aims to find out and describe in depth related to arumba music training for the elderly in the Mitra Seni Indonesia Community through the perspective of a geragogy approach. The method used is qualitative with a descriptive approach. This research was carried out for five months, starting from August to December 2025. The subjects in this training were eight elderly participants and a trainer who was a member of the Arumba Gemilang group. This training has fulfilled all three goals of geragogy according to Creech and Hallam, namely person-centered, fellow-centered, and matter-centered, although it is implemented unplanned and unintentionally by the trainer. The findings of this study show that the goals of geragogy have been implemented albeit accidentally and unplanned. This research contributes to enriching the empirical literature on geragogy in the context of non-formal music education for the elderly, especially in the case study of traditional bamboo music in Indonesia.
Supporting Piano Motivation through Structured Autonomy and Contextual Teaching: Three Teacher Perspectives Eugene Seow; Charlize Wong
Jurnal Seni Musik Vol. 15 No. 1 (2026): Vol. 15 No. 1 (2026): June, 2026
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jsm.v15i1.59669

Abstract

Intermediate piano learners may lose motivation when progress slows or assigned materials feel disconnected from their musical interests. This exploratory qualitative interview study examines how three piano teachers describe strategies for supporting motivation and engagement and considers their implications for intermediate piano pedagogy. The participants, who taught mixed ages and levels, were purposively selected and interviewed using a semi-structured protocol. The original interview material was thematically coded in the dissertation from which this article was developed, and the retained accounts were interpreted in relation to a narrower research question. Four themes were identified: student choice as an entry point into structured learning; playful and embodied strategies for making concepts and techniques graspable; contextual theory and aural understanding; and guided practice linked to visible or audible progress. Across the accounts, teachers described making student interest productive by translating it into bounded tasks, explicit goals, contextual explanation, responsive feedback, and manageable practice routines. The article then develops structured autonomy as an interpretive framework for this conversion process. Although based on three perspectives from teachers of mixed ages and levels and unable to show effectiveness or causality, the framework shows how autonomy and rigor can be combined in individual lessons at the piano.

Page 4 of 4 | Total Record : 39

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