cover
Article Per Year (5 Year)
All
Home Page
OAI Link
Editorial Team
Contact
Reviewer
Google Scholar
Contact Name
Matthew Hansel
Contact Email
matthew.hansel@uph.edu
Phone
+62215640901
Journal Mail Official
jurnalsenimusik@uph.edu
Editorial Address
Jurusan Seni Musik - Fakultas Ilmu Seni Universitas Pelita Harapan Lippo Karawaci, Tangerang 15811 Indonesia
Location
Kota tangerang,
Banten
INDONESIA
Jurnal SENI MUSIK
Published by Universitas Pelita Harapan
ISSN : 18298990     EISSN : 25805371     DOI : 10.19166
Core Subject :
Jurnal SENI MUSIK is a scholarly journal published by the Conservatory of Music, University of Pelita Harapan. This journal aims to accommodate any scientific articles about music, music performance and history, audio and recording, music industry, music composition analysis, music therapy, and music education. It is published in May and October.
Arjuna Subject : -
Articles 70 Documents
 2   3   4   5   6 
Adaptation of Iso Principle Concept as a Foundation in Music Therapy Session Planning for a First Responder with PTSD: A Case Study Kezia Karnila Putri
Jurnal SENI MUSIK Vol. 17 No. 2 (2025): Jurnal SENI MUSIK
Publisher : Universitas Pelita Harapan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.19166/jsm.v17i2.5945

Abstract

Post-traumatic stress disorder (PTSD) among first responders is an understudied issue in Indonesia. Until the point that this study was written, there has not been any literature regarding this issue that is available in Indonesia. In the American continent, music therapy is used as one of the non-pharmaceutical interventions for first responders and veterans with PTSD. Despite of the many literatures that were written on music therapy and PTSD, there is a lack of information on approaches and considerations when working with first responders with PTSD in a music therapy session. This study aims to offer the clinical idea and considerations; mainly the adaptation of Iso principle concept; to base music therapy session planning for first responders with PTSD. The Iso-principle is the idea of matching the chosen music to the client’s mood, and gradually changing the music to the desired mood. In this case-study, the flow of music therapy sessions with an adult male first responder will be reviewed and analyzed.  
An Approach to the Historically Informed Performance Practice on a Modern Violin with Case Study of Bach’s Chaconne, BWV 1004 Amelia Tionanda
Jurnal SENI MUSIK Vol. 14 No. 2 (2022): Jurnal SENI MUSIK
Publisher : Universitas Pelita Harapan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.19166/jsm.v14i2.5954

Abstract

Historically informed performance practice has been discussed and debated for a long period of time among musicians who wish to interpret the music authentically and accordingly. However, some issues are discussed whether the performers should play traditionally and historically or the music should be played according to the modern instrument capabilities with new sounds and techniques as a result. This research is limited to analyzing the way of playing chords and voicing. This study uses a descriptive qualitative approach. The data were collected by comparing recordings, documentation, and literature. The result of the study revealed that to be able to interpret historically informed performance practice, a performer needs to study the notation, treatises, documents, and history to deliver the feeling, interpretation, personality, and individual taste in performance.
Evaluasi Subyektif Teknik Perekaman Stereo Talempong [Subjective Evaluation of Talempong Stereo Recording Techniques] Muhammad Nur Muhammady; Jack Arthur Simanjuntak
Jurnal SENI MUSIK Vol. 17 No. 2 (2025): Jurnal SENI MUSIK
Publisher : Universitas Pelita Harapan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.19166/jsm.v17i2.6006

Abstract

Talempong is a traditional musical instrument from Minangkabau, West Sumatra, Indonesia. Talempong is played by hitting it with an oval-shaped wooden stick, which is usually wrapped in cloth, rubber, or thread. The purpose of this research is to analyze the preference of stereo recording technique on talempong recording. The stereo recording techniques used are: XY, ORTF, NOS, Spaced-Pair (AB). Subjective tests were conducted on 24 expert and non-expert participants, including sound engineers, musicians, and Minang music activists. Qualitative methods were used to identify respondents' preferences for the stereo recording technique used. The results showed that 80% of the 12 non-expert participants liked the AB stereo recording technique, and 50% of the 4 expert participants liked the XY stereo recording technique because both recording techniques produced sound with clear clarity. Spatial panorama and tone color are other acoustic aspects that are factors in choosing preference for stereo recording techniques, however, clarity is the main acoustic aspect in choosing stereo recording technique preferences. Bahasa Indonesia Abstract:Talempong adalah alat musik tradisional dari Minangkabau, Sumatra Barat, Indonesia. Talempong dimainkan dengan cara dipukul menggunakan batang kayu berbentuk lonjong, yang biasanya dililit kain, karet, atau benang. Tujuan dari penelitian ini adalah untuk menganalisis preferensi teknik perekaman stereo pada perekaman talempong. Teknik perekaman stereo yang digunakan adalah: XY, ORTF, NOS, Spaced-Pair (AB). Uji subjektif dilakukan kepada 24 naracoba ahli dan non-ahli meliputi insinyur bunyi, musisi, dan penggiat seni musik Minang. Metode kualitatif digunakan untuk mengidentifikasi preferensi responden terhadap teknik perekaman stereo yang digunakan. Hasil penelitian menunjukkan bahwa 80% dari naracoba 12 non-ahli menyukai teknik perekaman stereo AB, dan 50% naracoba 4 ahli menyukai teknik perekaman stereo XY karena, kedua teknik perekaman tersebut menghasilkan bunyi dengan klaritas yang jelas. Panorama spasial dan warna nada merupakan aspek akustik lainnya yang menjadi faktor pemilihan preferensi teknik perekaman stereo namun, klaritas merupakan aspek akustik utama dalam pemilihan preferensi teknik perekaman stereo. 
Analysis of Motivic Transformation in Beethoven’s Sonata no. 31 in A-Flat Major, Op. 110 Resulting in Logical Structural Coherence Mario Santoso
Jurnal SENI MUSIK Vol. 13 No. 2 (2021): Jurnal SENI MUSIK
Publisher : Universitas Pelita Harapan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.19166/jsm.v13i2.6032

Abstract

The legacy of Ludwig van Beethoven and his unparalleled 32 piano sonatas had become the cornerstone for nineteenth century composers that many of them were challenged to write piano sonatas of their own while simultaneously almost impossible for them to succeed unless they re-invented their works beyond traditionalism (for example Franz Liszt and his Sonata in B minor). It is almost unimaginable what nineteenth century would have been like without Beethoven’s 32 piano sonatas. In those influential works, one of the most important highlights is how Beethoven was being an economical and effective composer by writing his music with one or a few numbers of motive (usually less than five) and transforming the motive(s) into various and endless variations that resulted in such logical structural coherence. The purpose of the writing is to provide a prescriptive analysis of the motivic transformation in Beethoven’s piano sonata no. 31 in A-flat major, Op. 110, in which the whole sonata is essentially based on three motives presented in the first four measures in the first movement; the result is a 19-minute sonata, which movements are cyclic into one coherence that should be performed continuously without traditional breaks among the movements.
Evaluating the Innovative Fantasia Concept in Beethoven’s Piano Sonatas, Op. 27 “Sonata Quasi Una Fantasia” Mario Santoso; Jacklyn Laudiana
Jurnal SENI MUSIK Vol. 14 No. 1 (2022): Jurnal SENI MUSIK
Publisher : Universitas Pelita Harapan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.19166/jsm.v14i1.6033

Abstract

Beethoven’s 32 piano sonatas are considered seminal works in Western music history as they represent perhaps more clearly than any other body of works the innovative processes that are at the core of Beethoven’s creativity as described by American musicologist Stewart Gordon. The 32 sonatas are so popular among scholars and pianists that each of them features unique innovations that are uncommonly observed by previous composers. The differences between numbers are extreme, not only just between Opus number but also within Opus number; as a result, the impact of these works upon the nineteenth century was so immediate that they quickly challenged composers to have a new standard of sonata writing by means of redefining, transforming, and elevating the genre. One of the most original works of the 32 sonatas is both numbers of Op. 27, marked “sonata quasi una fantasia” by the composer himself, in which there were no known composers who had written similarly in combining the concepts of fantasia and sonata. The fantasia concept in these two works is not expressed as common fantasia in the previous historical eras - a highly imitative contrapuntal work with many sections; Beethoven, instead, implies a new fantasia concept in Op. 27 by merging the two concepts together - one being so free and sectional, while the other being rigid in structure - into such “perfect marriage,” resulting in such original works, which became an immediate impact to the “romantic” style and its composers.
Strategi Pemasaran Event Kompetisi Piano Hybrid di UPH National Piano Competition 2022 [Marketing Strategy for Hybrid Piano Competition at UPH National Piano Competition 2022] Yosia Revie Pongoh
Jurnal SENI MUSIK Vol. 14 No. 2 (2022): Jurnal SENI MUSIK
Publisher : Universitas Pelita Harapan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.19166/jsm.v14i2.6051

Abstract

The live music performance sector was very affected by the COVID-19 pandemic. During the pandemic, we found very few live music performances. We are glad now that we have entered the post-pandemic period that allowed us to conduct any music activities directly.  In the pop music scene in Indonesia there are many concerts and music festivals have begun, but not so in the classical music scene. There are not many concerts, festivals, or competitions are held until now. Nevertheless, there was a piano competition that had been successfully held in June 2022 on a national scale and conducted in hybrid mode. This study investigated marketing strategies carried out by the UPH Conservatory of Music as the organizer of UPH National Piano Competition 2022. The research method was carried out qualitatively with a case study approach. Based on the results of the analysis it was found that the organization had formulated the goals to be achieved, the value to be given to the participants, and determined the position between other competitors. The organization also set the specific target of the intended participant and formulated the right strategy for the target of the participants. Based on the analysis, there are strategies that are considered effective by the organizers such as the determination of core products and additional products, pricing strategy on competition based, and the selection of appropriate distribution channels, and also the selection of appropriate promotional media in accordance with the behavior of the target of the participant's age. Through the model found in this study, it is hoped that it can be applied to other classical music competition event organizers who are using hybrid method. The limitation of this study that it is only discusses about the application of marketing strategies carried out by the organizers. More research on consumer behavior is necessary to find out about the reason that underlie consumers in making purchasing decisions. Bahasa Indonesia Abstract:Sektor Pertunjukan musik langsung sangat terdampak oleh adanya pandemic covid-19. Selama pandemic berlangsung sangat sedikit pertunjukan musik diadakan secara langsung, begitu pula kegiatan kompetisi musik secara langsung. Memasuki masa post-pandemic sudah dimungkinkan mengadakan kegiatan musik secara langsung, di skena musik pop sudah banyak konser dan festival musik mulai diadakan kembali, namun tidak demikian pada skena musik klasik di Indonesia, belum banyak konser, festival, ataupun kompetisi dilaksanakan. Meskipun demikian, terdapat sebuah kompetisi piano klasik yang telah berhasil dilaksanakan secara langsung pada bulan juni 2022 yang lalu yang berskala nasional dan dilaksanakan secara Hybrid secara online dan onsite. Penelitian ini menginvestigasi strategi pemasaran yang dilakukan oleh pihak UPH Conservatory of Music sebagai penyelenggara UPH National Piano Competition 2022. Metode penelitian dilakukan secara kualitataif dengan pendekatan studi kasus. Berdasarkan hasil analisis ditemukan bahwa penyelanggara telah merumuskan tujuan yang ingin dicapai, nilai yang ingin diberikan kepada peserta, dan menentukan posisi diantara kompetisi piano lainnya. Setelah itu penyelenggara menetapkan secara spesifik target peserta yang dituju dan merumuskan strategi yang tepat bagi target peserta tersebut. Berdasarkan analisis, terdapat strategi-strategi yang dinilai efektif oleh penyelenggara seperti penetapan core product dan addititional products, penetapan harga berdasarkan competition based, dan pemilihan kanal distribusi yang tepat, dan pemilihan media promosi yang tepat sesuai dengan behavioral dari target umur peserta.Kata Kunci : Musik Klasik, Piano, Kompetisi, Strategi Marketing 
Meninjau Penerapan Model Pembelajaran Gamelan Jawa Tingkat Sekolah Menengah Pertama Berdasar Kurikulum 2013 [Reviewing the Implementation of the Javanese Gamelan Learning Model at the Junior High School Level Based on the 2013 Curriculum] Haryo Wikantomo; Dhany Yufisa Wibowo
Jurnal SENI MUSIK Vol. 14 No. 2 (2022): Jurnal SENI MUSIK
Publisher : Universitas Pelita Harapan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.19166/jsm.v14i2.6052

Abstract

This study aims to provide an overview of the application of the Gamelan learning model in intracurricular activities for the junior high school. In the 2013 Curriculum that is applied, traditional music learning is mostly studied in theory, so that learning gamelan instruments as one of the traditional musical instruments at the secondary school level is rarely encountered and receives less attention. This study uses a descriptive qualitative method with expert interview data collection techniques and literature studies. The conclusion of this study is that the application of gamelan learning models at the junior high school level through project-based, problem-based, and discovery learning models has not been fully implemented in the learning process according to the 2013 Curriculum. Of the three models, the project-based learning model is considered the easiest to implement. It is also concluded that the factors that become obstacles in the learning process include teacher competence, limited learning time, technical learning models, student interest in learning, and adequate facilities. Bahasa Indonesia Abstract:Penelitian ini bertujuan untuk memberikan gambaran mengenai penerapan model pembelajaran gamelan dalam kegiatan intrakurikuler untuk tingkat SMP. Dalam Kurikulum 2013 yang diterapkan, pembelajaran musik tradisional lebih banyak dipelajari secara teori saja sehingga pembelajaran instrumen gamelan sebagai salah satu instrumen musik tradisional di tingkat sekolah menengah jarang ditemui dan kurang mendapat perhatian. Penelitian ini menggunakan metode kualitatif deskriptif dengan teknik pengambilan data wawancara ahli dan studi literatur. Kesimpulan dari penelitian ini adalah penerapan model pembelajaran gamelan di tingkat SMP melalui model pembelajaran project-based, problem-based dan discovery learning belum diterapkan sepenuhnya dalam proses pembelajaran sesuai Kurikulum 2013. Dari ketiga model tersebut, model pembelajaran project-based dinilai paling mudah untuk diterapkan. Dismpulkan juga factor-faktor yang menjadi penghambat dalam proses pembelajaran antara lain kompetensi guru, waktu pembelajaran yang terbatas, teknis model pembelajaran, minat belajar siswa, dan fasilitas yang memadai.
Pengaruh Motivasi Belajar Terhadap Hasil Belajar Mahasiswa pada Kelas Instrumen Piano Fakultas Ilmu Seni UPH [The Effect of Learning Motivation on Student Learning Outcomes in the Piano Instrument Class Conservatory of Music UPH] Sara Lorin Hernadi
Jurnal SENI MUSIK Vol. 14 No. 2 (2022): Jurnal SENI MUSIK
Publisher : Universitas Pelita Harapan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.19166/jsm.v14i2.6053

Abstract

Music learning at the university level of higher education has courses that are mandatory for every student. At the Conservatory of Music, UPH, the Piano Instrument Class course is one of the subjects that must be taken by every student, especially for students who do not yet have basic skills in playing the piano. In every semester, never 100% of students pass this class and, in every meeting, it is always found that students do not practice and there is a decrease in the quality of the performance that affects student learning outcomes. Piano learning that focuses on the skill aspect requires regular practice that is effective and efficient, and to be able to practice regularly, it takes motivation to practice. The purpose of this study was to see whether learning motivation had an effect on student learning outcomes in the Piano Instrument Class. Data collection techniques were taken using questionnaires and tests on 39 Piano Instrument Class students in the 2020/2021 Odd Semester. From the results of the study, it was found that learning motivation had an influence of 16% on learning outcomes in the Piano Instrument Class. Bahasa Indonesia Abstract:Pembelajaran musik pada tingkat pendidikan tinggi di universitas memiliki mata kuliah-mata kuliah yang wajib diambil oleh setiap mahasiswa. Pada Fakultas Ilmu Seni, UPH, mata kuliah Kelas Instrumen Piano menjadi salah satu mata kuliah yang wajib diambil oleh setiap mahasiswa, khususnya untuk mahasiswa yang belum memiliki kemampuan dasar dalam bermain piano. Pada setiap semesternya, kelulusan dari mata kuliah ini tidak pernah mencapai 100% dan dalam setiap pertemuannya selalu ditemukan mahasiswa yang tidak berlatih dan adanya penurunan kualitas permainan yang berpengaruh kepada hasil belajar mahasiswa. Pembelajaran piano yang berfokus pada aspek keterampilan membutuhkan latihan rutin yang efektif dan efisien, dan untuk dapat berlatih dengan rutin, dibutuhkan motivasi berlatih. Tujuan dari penelitian ini adalah untuk melihat apakah motivasi belajar memberikan pengaruh terhadap hasil belajar mahasiswa di Kelas Instrumen Piano. Teknik pengumpulan data diambil dengan menggunakan kuesioner dan tes pada 39 mahasiswa Kelas Instrumen Piano pada Semester Ganjil 2020/2021. Dari hasil penelitian ditemukan bahwa motivasi belajar memiliki pengaruh sebesar 16% terhadap hasil belajar di Kelas Instrumen Piano.
Evaluating the Harmonic Innovation in Chopin’s Ballade No. 1 in G minor, Op. 23 Anjelica Reisa; Mario Santoso
Jurnal SENI MUSIK Vol. 14 No. 2 (2022): Jurnal SENI MUSIK
Publisher : Universitas Pelita Harapan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.19166/jsm.v14i2.6054

Abstract

The perfection of Frédéric Chopin (1810-1849) and his exclusive piano music with its unique personal stamp make his work highly original. His musical style is exceptionally individualistic, so distinct that some elements are quickly recognized as belonging to him. Two elements that Chopin revolutionized in his compositions include a redefinition of many traditional concepts associated with dance music with character piece; and the of writing harmonic sense that was quite original for that time, which brought such critics from his contemporaries complaining about those features that are regarded as strikingly original today - the equilibrium point of chromaticism and diatonicism. The purpose of this article is to analyse and evaluate the harmonic innovation in Chopin’s Ballade no. 1 in G minor, Op. 23, as Chopin successfully blended diatonicism and chromaticism to the point of being equal in use, resulting in early study of tonal expansion; this musical language had such enormous influence to the later composers in the nineteenth and twentieth centuries.
The Concept of Classic-Romantic as One Entity in Western Music History Mario Santoso
Jurnal SENI MUSIK Vol. 14 No. 2 (2022): Jurnal SENI MUSIK
Publisher : Universitas Pelita Harapan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.19166/jsm.v14i2.6055

Abstract

Any periods of Western music history prior to 1720s - Antiquity, Medieval, Renaissance, and Baroque - can be regarded as independent eras in essence, which are marked by a definable boundary that are clearly noticeable from one another; however, the term classicism and romanticism refer to one phenomenon that is essentially dependent to one another. The two eras cover one same period since they complement each other, which extends roughly from the years of 1720s to the first decade of the twentieth century. The purpose of this writing is to provide descriptive explanations why the terms “classic” and “romantic” are two aspects of one - the same phenomenon, and of one same historical period.

Page 4 of 7 | Total Record : 70

 2   3   4   5   6 

Filter by Year

2020 2026


Reset
Filter By Issues
All Issue Vol. 18 No. 1 (2026): Jurnal SENI MUSIK Vol. 17 No. 2 (2025): Jurnal SENI MUSIK Vol. 17 No. 1 (2025): Jurnal SENI MUSIK Vol. 16 No. 2 (2024): Jurnal SENI MUSIK Vol. 16 No. 1 (2024): Jurnal SENI MUSIK Vol. 15 No. 2 (2023): Jurnal SENI MUSIK Vol. 15 No. 1 (2023): Jurnal SENI MUSIK Vol. 14 No. 2 (2022): Jurnal SENI MUSIK Vol. 14 No. 1 (2022): Jurnal SENI MUSIK Vol. 13 No. 2 (2021): Jurnal SENI MUSIK Vol. 13 No. 1 (2021): Jurnal SENI MUSIK Vol. 12 No. 2 (2020): Jurnal SENI MUSIK Vol. 12 No. 1 (2020): Jurnal SENI MUSIK More Issue