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Matthew Hansel
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Jurusan Seni Musik - Fakultas Ilmu Seni Universitas Pelita Harapan Lippo Karawaci, Tangerang 15811 Indonesia
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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
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From ”˜Being’ to ”˜Becoming’: The Transition from Music Education Students to Novice Teachers, Universitas Pelita Harapan Jane Andreas Djie; Devyna Serena Geovanny
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.v17i2.6056

Abstract

Students-turned-into-teachers encounter a transition process during their early years of teaching. In recent years, there has been considerable discourse on how crucial this transition process is. Scholars have suggested that the first five years of teaching are the determining factor””whether these novice teachers choose to stay in their profession, or otherwise. While this topic has become one of the utmost concerns by scholars in the education field, its study on music education is still limited. Thus, this research aims to explore and investigate the transition process of music education undergraduate students who became novice teachers, particularly at Universitas Pelita Harapan (UPH). UPH is one of the leading universities in Indonesia that serves a Music Education program for undergraduates. Using phenomenology case study, the data was collected through semi-structured interviews of two graduates of the Music Education Program at UPH who became music teachers in formal institutions. The secondary data of this research were the interviews of the respondents’ work colleagues and lecturers, as well as the questionnaires of 31 alumni of the Music Education Program. Overall, this research focused on three aspects of the respondents’ transition process, which are: (1) their challenges; (2) their perception; (3) their preparation program. The evidence showed that the graduates of the Music Education Program at UPH have experienced both positive and negative transition processes throughout their early careers. The most significant challenges of their transition are doing administrative tasks and class management. This research has also found that the university program gave a significant impact on preparing these newly-appointed teachers, in terms of their music teachers’ identity, and their professionalism in the work field. This research heightens the awareness and knowledge on how the university can improve the preparation program for music education graduates to face their transition process as beginning music teachers.
Identifikasi Penilaian Individual Teknik Perekaman Stereo Alat Musik Jawa Barat Calung Jinjing [Identification of Individual Assessment of Calung Jinjing Stereo Recording Technique] Jack Arthur Simanjuntak; Klemens Putera Sejahtera
Jurnal SENI MUSIK Vol. 15 No. 1 (2023): Jurnal SENI MUSIK
Publisher : Universitas Pelita Harapan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.19166/jsm.v15i1.6744

Abstract

Calung jinjing adalah alat musik tradisional daerah Jawa Barat berjenis idiophone yang memiliki tangga nada pentatonis berlaras selendro. Calung jinjing pada umumnya disajikan dalam bentuk ensambel yang format instrumentasinya terdiri dari calung kingking, calung panempas, calung jongrong dan calung gonggong yang dimainkan dengan cara dipukul menggunakan stik berbahan bambu. Penelitian ini bertujuan untuk mengidentifikasi penilaian responden terhadap teknik perekaman stereo untuk calung jinjing. Pendekatan kualitatif dilakukan dengan mengujikan sampel perekaman calung. Teknik perekaman yang digunakan adalah teknik perekaman stereo XY 90º, XY 135º, ORTF, dan AB dengan dua variabel jarak dan tinggi. Terdapat 16 sampel yang diujikan kepada x responden. Studi ini menemukan bahwa teknik perekaman stereo ORTF pada jarak 1,3 meter adalah teknik yang menjadi preferensi responden pada perekaman calung jinjing di studio Dibi Recording Studio, Bandung. Faktor-faktor yang menjadi pendukung penilaian responden adalah berdasarkan kejelasan bunyi, citra bunyi stereo, dan impresi ruangan.
Analisis Hubungan Kemampuan Mahasiswa dalam Teori Musik dengan Pembelajaran Dasar Direksi Musik di Universitas Pelita Harapan [Analysis of the Relationship between Students’ Ability in Music Theory and Basic Conducting at Pelita Harapan University] Sarah Charista Winata
Jurnal SENI MUSIK Vol. 15 No. 1 (2023): Jurnal SENI MUSIK
Publisher : Universitas Pelita Harapan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.19166/jsm.v15i1.6760

Abstract

Mata kuliah dasar direksi dan teori musik adalah mata kuliah wajib yang diampu oleh mahasiswa Fakultas Seni Universitas Pelita Harapan di semester pertama. Pada penelitian ini, peneliti akan melihat apakah kemampuan mahasiswa di mata kuliah teori musik berbanding lurus dengan kemampuan pada mata kuliah dasar direksi. Penelitian ini bersifat penelitian deskriptif.Pengumpulan data diambil dari nilai ujian akhir semester mata kuliah teori musik dan dasar direksi. Penelitian ini membandingkan apakah kedua variabel ini memiliki hubungan yang signifikan. Luaran yang diharapkan adalah adanya pemikiran ulang dalam struktur kurikulum fakultas ilmu seni; apakah mata kuliah teori musik dan dasar direksi berada pada di semester pertama.  
Old and New: The Revolution of French School of Piano Playing from the 18th to 20th Century Amelia Santoso
Jurnal SENI MUSIK Vol. 15 No. 1 (2023): Jurnal SENI MUSIK
Publisher : Universitas Pelita Harapan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.19166/jsm.v15i1.6775

Abstract

The so-called "French piano school" in the 21st century is rarely discussed and pointed out specifically. This goes the same way as Russian school or German school, for these national schools have been mixed and influenced between one and the others since artists were easily connected internationally in the twentieth century. As Jean-Philippe Collard (1948, France) said in his 1986 interview: "Today all the so-called schools have combined--the Russian, the French, the German, the Japanese, or what have you." (Timbrell, 225). However, it is important to know about their existence, for we would find out versatile techniques, artistry, and sound of the repertoires we learn. Based on qualitative research through books, journals, and articles, the writer will discuss about the French school: how it began from the time of Rameau and Couperin, enjoyed its celebrated jeu perlé technique, then slowly renewed itself toward the new international way of piano playing. At the end of this journal, we hope to have a new insight in applying various ways of practicing to find the perfect sound to our ears, in respect to French composers and their music. 
Analisis Harmonik Kompresor Model “LA-2A” Digital Pada Frekuensi Fundamental 1000 Hz [Harmonic Analysis Content of “LA-2A” Digital Compressor Model with 1000 Hz Sine Wave] Kevin Leonardo; Ricco Pranoto
Jurnal SENI MUSIK Vol. 15 No. 1 (2023): Jurnal SENI MUSIK
Publisher : Universitas Pelita Harapan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.19166/jsm.v15i1.6777

Abstract

Compressor used as a tool for altering a temporal aspect of a sound source. This alteration reduces the dynamic of the sound thus changing the perception of the sound. Other than that, the circuit of the compressor contain tubes and transistor and produce a harmonic distortion that add a sound texture to the sound source. This measurement aims to analyze and compare 9 compressor software that emulate a hardware compressor “LA-2A”. 1000 Hz sinusoidal wave will be used in this measurement to analyze the harmonic distortion in mid-high frequency region. 7 from 9 products are producing an even and odd harmonic although the odd harmonics dominate. The difference come from Leveling Tool ADHD that produce only odd harmonics and Sonic Anomaly SLAX that produce only third partial.  
Analisis Kompresor Digital dengan Basis Emulasi “LA-2A” Pada Frekuensi Fundamental 100 Hz [Digital Compressor Analysis Based on “LA-2A” Model Using 100 Hz Sine Wave] Kevin Leonardo; Ricco Pranoto
Jurnal SENI MUSIK Vol. 15 No. 1 (2023): Jurnal SENI MUSIK
Publisher : Universitas Pelita Harapan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.19166/jsm.v15i1.6778

Abstract

Compressor is an audio tool that used by the audio engineer for taming dynamics. The compressor itself had grown into software (plug-ins) based tools. That software is made from the emulation of some hardware compressor that famous in circle of audio engineer. One of the hardware are LA-2A that often used by audio engineer for taming the dynamic of vocals. There are many software developers that made their product based on this compressor and this study aim to analyze the harmonic characteristic of those software. 9 compressor “LA-2A” based are analyzed using 100 Hz sine wave to get the harmonic characteristic in the low-mid frequency region. 8 of 9 software has a similarity to produce odd harmonics in low-mid frequency region. Only Slate FG-2A that produce odd and even harmonics and Sonic Anomaly SLAX that only produce third harmonic in -12 dB gain reduction.
Evaluation of the Idiosyncratic Style in Berlioz's Music Mario Santoso
Jurnal SENI MUSIK Vol. 15 No. 1 (2023): Jurnal SENI MUSIK
Publisher : Universitas Pelita Harapan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.19166/jsm.v15i1.6782

Abstract

The nine symphonies of Beethoven provoked a crisis of confidence to all composers in the nineteenth century as they wondered how they could surpass Beethoven’s achievements and legacy. The “crisis” was felt virtually in two specific genres: instrumental music (the symphony in particular) and the piano music. Nevertheless, at least one composer stood out and saw Beethoven’s works as a form of aberration, an experiment, which became the beginning point for much further exploration - Hector Berlioz (1803-1869). He made numerous contributions to the art and craft of instrumentation, in which his writing extravagance and distinctive idiosyncratic style would pervade the rest of the century. For Berlioz, the writing of music was not strict conventions, but rather shaped “from within” by the poetic content of the music. As a result, Berlioz’s music had become question between profusion and confusion by his colleagues: big ideas but no discipline, originality but no follow-through. The purpose of this writing is to note some remarks about Berlioz’s originality and idiosyncratic style, which was different than anything anyone heard before.
Perkembangan Bentuk Penyajian Musikalisasi Puisi di Yogyakarta pada Tahun 2013-2023 [Form of Performance of Poetry Musicalization in Yogyakarta During 2013-2023] Aqilah Mumtaza; Umilia Rokhani; Daniel de Fretes
Jurnal SENI MUSIK Vol. 17 No. 1 (2025): Jurnal SENI MUSIK
Publisher : Universitas Pelita Harapan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.19166/jsm.v17i1.7464

Abstract

Musikalisasi puisi merupakan puisi yang dipertunjukkan secara ekspresif dan musikal. Bentuk kesenian yang muncul pada tahun 1970-an di Yogyakarta ini masih tergolong baru, sehingga belum terdapat pembakuan mengenai definisi maupun batasan-batasan di dalamnya. Penelitian ini bertujuan untuk melihat bagaimana perkembangan bentuk penyajian musikalisasi puisi di Yogyakarta pada tahun 2013-2023. Metode yang digunakan dalam penelitian ini yaitu kualitatif dengan pendekatan studi kasus kolektif. Teknik pengumpulan data menggunakan studi pustaka, observasi, wawancara, dan studi dokumentasi. Adapun teknik analisis data yang digunakan adalah reduksi data, penyajian data, serta penarikan kesimpulan dan verifikasi. Hasil penelitian menunjukan adanya perkembangan bentuk penyajian musikalisasi puisi dari segi format pemain, alat musik, genre, dan konsep pertunjukan. Abstract (English)Poetry musicalization is an expression form of poetry through music. This art form that emerged in 1974 in Yogyakarta is still relatively new, so there has yet to be a standardization of definition and boundaries. This study aims to recognize the development of the poetry musicalization performance form in Yogyakarta in 2013-2023. This period was chosen as a period that is relatively close and relevant to aspects of trends or changes in the realm of performing arts in the country. The method used in this research is qualitative with a collective case study approach. Data collection techniques used are literature review, observation, interviews, and documentation studies. Data analysis techniques are reduction, presentation, conclusion, and verification. The study results shows developments in the poetry musicalization performance form in terms of player format, musical instrument, genre, and performance concept.
Composing Contemporary Music Through Musical Form from the Past: Perspectives from Compositional Process of Passacaglia [Penciptaan Musik Kontemporer melalui Penggunaan Bentuk Musik Tradisional: Perspektif dari Proses Penciptaan Karya Passacaglia] Matius Shan Boone
Jurnal SENI MUSIK Vol. 15 No. 2 (2023): Jurnal SENI MUSIK
Publisher : Universitas Pelita Harapan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.19166/jsm.v15i2.7481

Abstract

In this article, the compositional process in my Passacaglia will provide some new perspectives on how to deal with the notion of the past and present in contemporary music. The preliminary analysis will describe various uses of passacaglia form from different composers across period that provide references to that process. The following detailed analysis will demonstrate my approach to select, transform, and to a further extent, depart from those references. The purpose of the analysis is to demonstrate that the creativity and originality are not necessarily related to the innovation and invention. Rather, creative and innovative way of composing can be found by rediscovering the musical legacy of the past, the method that is too valuable to be ignored and overlooked by many other composers. Musical form does not merely belongs to a particular time and places, but it evolves from time to time as shown by different attempts from various composers across different time and places. The creative way can appear by looking into the root of musical form, examining existing various approaches throughout various periods, and developing individual methods. Abstrak (Indonesia)Tujuan penelitian ini untuk menawarkan beberapa perspektif baru melalui proses penciptaan komposisi musik inovatif dengan menggunakan bentuk musik tradisional ke dalam konteks musik kontemporer, khususnya yang mengacu pada jalur perkembangan sejarah musik di Eropa. Bentuk musik passacaglia menjadi fokus utama dalam penelitian ini karena meskipun bentuk ini telah muncul ratusan tahun lalu, namun masih kerap dieksplorasi oleh berbagai komponis dari berbagai era musik. Metode penelitian dalam studi ini secara utama menerapkan metode penelitian berbasis praktik  dan melibatkan pendekatan analisis yang sifatnya kualitatif dan deskriptif yang dibagi melalui dua tahapan. Pertama, melalui analisa musik passacaglia yang mewakili berbagai era musik dengan penjabaran nilai kebaruan di setiap era tersebut, dan juga analisa penerapan dan trasnformasi ide dari analisa tahap pertama tersebut dalam proses penciptaan karya penulis Passacaglia. Penelitian ini diharapkan dapat membuka pintu terhadap berbagai ide penggarapan musik yang kreatif dan inovatif dalam mentransformasi bentuk musik tradisi ke dalam konteks masa kini, melalui pengamatan-pengamatan yang sifatnya analitis terhadap pendekatan berbagai komponis dan juga eksplorasi individual.
Perbandingan Preferensi Responden Terhadap Teknik Perekaman Stereo Untuk Ansambel Kolintang Pada Medley Lagu Tradisional Minahasa (O Ina Ni Keke Dan Si Patokaan) [Comparison of Respondents' Preferences for Stereo Recording Techniques for Kolintang Ensembles in Minahasa Traditional Song Medleys (O Ina Ni Keke Dan Si Patokaan)] Jack Arthur Simanjuntak; Yuliana Lisa Walean
Jurnal SENI MUSIK Vol. 15 No. 2 (2023): Jurnal SENI MUSIK
Publisher : Universitas Pelita Harapan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.19166/jsm.v15i2.7485

Abstract

Kolintang, alat musik perkusi nada tinggi asli dari Minahasa, biasanya dimainkan sebagai bagian dari sebuah ansambel. Studi terbaru menunjukkan bahwa generasi muda kurang memiliki kesadaran dan keterlibatan dalam upaya inovatif untuk melestarikan dan mengembangkan warisan budaya ini, terutama dalam konteks ansambel Kolintang. Oleh karena itu, ada kebutuhan mendesak untuk pendekatan inovatif dalam menarik perhatian generasi muda, khususnya dalam domain teknik perekaman audio, khususnya rekaman stereo. Penelitian ini bertujuan untuk menilai preferensi responden terkait teknik perekaman stereo yang digunakan dalam merekam pertunjukan ansambel Kolintang. Berbagai metode perekaman stereo, seperti XY 90°, ORTF, AB, dan Mid Side, telah dianalisis. Selain itu, dilakukan survei dan wawancara dengan melibatkan 30 responden yang terdiri dari ahli dan non-ahli. Hasil penelitian menunjukkan bahwa teknik perekaman yang paling disukai adalah XY 90°, dengan jarak mikrofon sekitar 100 cm dan tinggi sekitar 200 cm. Metode ini mendapatkan persentase preferensi agregat sebesar 76,6% (23 dari 30) dari semua responden, baik ahli maupun non-ahli. Kriteria subjektif untuk preferensi ini mencakup atribut seperti kejelasan, ketepatan, bidang stereo yang realistis, dan tangkapan yang merata dan seimbang dari nuansa timbral Kolintang, sehingga menghasilkan representasi suara yang jelas dan khas untuk setiap instrumen. Abstract (English)The Kolintang, an indigenous pitched percussion instrument originating from Minahasa, is traditionally performed as part of an ensemble. Recent studies have shown that younger generations lack awareness and involvement in innovative efforts to preserve and develop this cultural heritage, particularly in the context of Kolintang ensembles. Consequently, there is a pressing need for innovative approaches to engage the youth, particularly in the domain of audio recording techniques, specifically stereo recording. This research endeavors to assess respondents' preferences regarding stereo recording techniques applied in capturing Kolintang ensemble performances. Various stereo recording methods, such as XY 90°, ORTF, AB, and Mid Side, were examined. Furthermore, a survey and interviews were conducted, involving 30 respondents comprising experts and non-experts. The findings reveal that the most favored recording technique is XY 90°, with a microphone distance of 100 cm and a height of 200 cm. This method obtained an aggregate preference percentage of 76.6% (23 out of 30) among all respondents, both experts and non-experts. Subjective criteria for this preference include attributes like clarity, precision, a realistic stereo field, and an even, balanced capture of the Kolintang's timbral nuances, resulting in distinct and clear sound representation for each instrument.

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