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Journal of Theory and Practice in Arts
Published by CV Wahana Publikasi
ISSN : 31647790     EISSN : 31647804     DOI : 10.59011/jtpa
Core Subject :
Journal of Theory and Practice in Arts is a scientific journal that publishes research findings, theoretical studies, critical analyses, and creative practices in the field of arts. This journal serves as an academic platform for researchers, academics, practitioners, and artists to disseminate innovative ideas related to visual arts, performing arts, music, dance, theatre, design, creative media, as well as interdisciplinary studies in arts and culture. The journal focuses on the development of art theory, artistic practices, art education, art criticism, aesthetics, visual culture, and the application of arts within social and technological contexts. Through a multidisciplinary approach, the journal aims to strengthen the contribution of arts scholarship to the advancement of knowledge, creativity, and cultural transformation at both local and global levels. Journal of Theory and Practice in Arts is published periodically and accepts original articles that have not been previously published. All submitted articles undergo a peer-review process to ensure academic quality, originality, and scholarly relevance.
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Articles 15 Documents
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Pengaruh Perilaku Berbicara terhadap Pembawaan Paduan Suara Fitto Fido Soputan; Perry Rumengan; Meyny S. C. Kaunang
Journal of Theory and Practice in Arts Vol. 1 No. 3 (2026)
Publisher : CV Wahana Publikasi

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Abstract

Paduan suara merupakan aktivitas musikal yang tidak hanya menuntut kemampuan vokal dan musikal, tetapi juga komunikasi, koordinasi, kohesi, dan kesiapan psikologis anggota. Dalam proses latihan dan pembawaan, perilaku berbicara menjadi salah satu aspek yang berpotensi berkaitan dengan kemampuan penyanyi dalam mengartikulasikan teks, mengendalikan suara, membangun kepercayaan diri, dan merespons arahan musikal. Penelitian ini bertujuan menganalisis perilaku berbicara dalam kelompok paduan suara, khususnya bentuk dan fungsi komunikasi antara pelatih atau konduktor dengan anggota serta antaranggotanya, dan mengkaji keterkaitannya dengan kualitas interaksi, kohesi, kepercayaan diri, dan pembawaan paduan suara. Penelitian menggunakan pendekatan kualitatif dengan desain deskriptif. Penelitian dilaksanakan pada Januari–April 2025 pada kelompok paduan suara di wilayah Ratahan dan Jemaat GMIM Solafide Rasi, Kabupaten Minahasa Tenggara. Data dikumpulkan melalui observasi, wawancara semi-terstruktur, dan dokumentasi, kemudian dianalisis secara interaktif melalui kondensasi data, penyajian data, penarikan kesimpulan, serta pengembangan tema. Keabsahan data diperkuat melalui triangulasi sumber dan teknik. Hasil penelitian menunjukkan bahwa perilaku berbicara memiliki keterkaitan dengan artikulasi dan kejelasan lirik, pengendalian suara, kesadaran terhadap tinggi-rendah suara, pernapasan, kepercayaan diri, dan ekspresi ketika bernyanyi. Komunikasi verbal dan nonverbal konduktor juga mendukung pemahaman arahan musikal, sedangkan koordinasi dan kohesi kelompok berkontribusi terhadap kesatuan suara dan kualitas pertunjukan. Temuan menegaskan bahwa perilaku berbicara bukan penentu tunggal kualitas bernyanyi, melainkan salah satu aspek pendukung kesiapan vokal dan komunikatif yang perlu diintegrasikan dengan teknik vokal, ekspresi, dan koordinasi kelompok.
Analisis Fungsi Musik dalam Peribadatan Anak Sekolah Minggu di Jemaat GMIM Sion Tempang Wilayah Langowan II Glenie Latuni; Meyny S.C. Kaunang; Gabriel Christian Kiling
Journal of Theory and Practice in Arts Vol. 1 No. 1 (2026)
Publisher : CV Wahana Publikasi

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Penelitian ini bertujuan untuk menganalisis dan mendeskripsikan fungsi musik dalam peribadatan Anak Sekolah Minggu di Jemaat GMIM Sion Tempang Wilayah Langowan II, Kabupaten Minahasa, dengan memperhatikan bentuk musik, penggunaan instrumen, pola penyajian, posisi dalam liturgi, serta kontribusinya terhadap keterlibatan, pengalaman emosional, pemahaman iman, dan spiritualitas anak. Penelitian menggunakan pendekatan deskriptif kualitatif yang dilaksanakan pada Agustus–September 2025. Informan terdiri atas seorang pembina Sekolah Minggu dan 10–15 anak yang dipilih secara purposive. Data dikumpulkan melalui observasi, wawancara semi-terstruktur, dokumentasi, dan perekaman audio-visual, kemudian dianalisis melalui reduksi data, pengodean, pengelompokan tema, penyajian data, dan penarikan kesimpulan dengan memadukan perspektif psikologi musik dan teologi. Hasil penelitian menunjukkan bahwa musik memiliki fungsi multidimensional dalam peribadatan anak, meliputi fungsi pengiring, pengatur kegiatan ibadah, pembentuk suasana, emosional, sosial, pedagogis, dan spiritual. Lagu dengan melodi sederhana, ritme mudah diikuti, tempo yang sesuai, serta lirik yang dipahami anak cenderung meningkatkan partisipasi dan antusiasme. Penggunaan keyboard membantu menjaga tempo, menyediakan dasar harmonis, dan mengarahkan jalannya puji-pujian. Musik juga membantu anak memahami pesan iman melalui pengulangan lirik serta memberikan ruang bagi ekspresi emosional, interaksi sosial, dan pengalaman spiritual. Penelitian menyimpulkan bahwa pengelolaan musik yang sesuai dengan karakteristik perkembangan anak dapat mendukung terciptanya ibadah yang partisipatif, edukatif, dan bermakna.
Pembelajaran Ekstrakurikuler Gitar di SMA Kristen 1 Tomohon Franklin Dumais; Glenie Latuni; Yosua Julio Kuhon
Journal of Theory and Practice in Arts Vol. 1 No. 1 (2026)
Publisher : CV Wahana Publikasi

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Abstract

Penelitian ini bertujuan mendeskripsikan pembelajaran ekstrakurikuler gitar di SMA Kristen 1 Tomohon yang meliputi materi, strategi, pelaksanaan, dan evaluasi pembelajaran. Penelitian menggunakan metode kualitatif dengan pendekatan musikologi. Data dikumpulkan melalui observasi, wawancara secara langsung dengan guru Seni Budaya atau pengajar ekstrakurikuler gitar, serta dokumentasi berupa foto, video, dan dokumen pendukung. Data dianalisis secara deskriptif melalui proses seleksi, pengorganisasian, penelaahan, dan interpretasi data berdasarkan fokus penelitian. Hasil penelitian menunjukkan bahwa pembelajaran gitar dilaksanakan secara bertahap dengan mengintegrasikan pengetahuan dan keterampilan musikal melalui praktik langsung. Materi pembelajaran mencakup pengenalan bagian-bagian gitar dan fungsinya, sikap dan posisi tubuh, teknik penjarian, teknik tirando, apoyando, strumming, serta pengenalan dan praktik akor dasar, khususnya akor C mayor. Strategi pembelajaran meliputi ceramah, demonstrasi, praktik, diskusi, evaluasi, remedial, dan tutor sebaya. Demonstrasi dan latihan berulang digunakan untuk membentuk keterampilan teknis, sedangkan remedial dan tutor sebaya diterapkan untuk mengakomodasi perbedaan kemampuan peserta didik. Pelaksanaan pembelajaran terdiri atas kegiatan awal, inti, dan penutup, dengan evaluasi melalui identifikasi materi, demonstrasi teknik, serta praktik mengiringi lagu nasional. Keterlibatan mahasiswa Program Studi Seni Musik melalui kegiatan Praktik Pengalaman Lapangan selama tiga bulan juga memberikan kontribusi melalui kolaborasi dengan guru Seni Budaya dalam memperkuat pengetahuan, keterampilan, dan pendampingan musikal. Penelitian menyimpulkan bahwa pembelajaran ekstrakurikuler gitar berlangsung secara sistematis, praktis, partisipatif, dan adaptif dalam mendukung pengembangan kemampuan musikal peserta didik.
Descriptive Analysis of Music Arts Learning Efforts at State Senior High School 2 Langowan Franklin E. Dumais; Meyny S. C. Kaunang; Marselino S. Malonda
Journal of Theory and Practice in Arts Vol. 1 No. 3 (2026)
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This study aims to describe and analyze efforts to improve music arts learning at SMA Negeri 2 Langowan, focusing on students’ learning interest, participation, musical skills, creativity, and learning outcomes. The study employed a quantitative approach with a correlational and regression design. The research was conducted from September to November 2023 and involved 30 Grade XII Social Sciences students selected through total sampling. Data were collected using questionnaires, observations, interviews, and documentation. The data were analyzed descriptively and inferentially through frequency and percentage analysis, Pearson product-moment correlation, and simple linear regression. The findings indicate that music arts learning initially faced several challenges, including teacher-centered instructional practices, limited musical instruments and facilities, low student motivation, and weak extracurricular support. To address these challenges, the school implemented four complementary strategies: Project-Based Learning (PjBL), digital technology and media utilization, teacher professional development, and strengthening of extracurricular music activities. The implementation of these strategies resulted in positive changes in the learning process and student outcomes. Student attendance increased to 95%, while average practical music scores increased from 70 to 85. Furthermore, 80% of students reported that music learning became more enjoyable, 75% demonstrated improved practical skills, and 90% became more confident in public performances. Participation in extracurricular music activities increased from 10 to 35 students. These findings demonstrate that an integrated approach combining pedagogical innovation, digital technology, teacher competence, and authentic musical experiences can create a more active, creative, collaborative, and meaningful learning environment. The study concludes that sustainable improvement in music arts education requires continuous teacher development, adequate facilities, effective technology integration, and opportunities for students to engage in authentic musical activities.
Liturgical Music Practices in Worship at GMIM Pniel Watulambot Congregation Merary Michela Kainde; Luccylle Manina Takalumang; Franklin E. Dumais
Journal of Theory and Practice in Arts Vol. 1 No. 1 (2026)
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This study examines the practice of liturgical music in worship at GMIM Pniel Watulambot Congregation, focusing on musical implementation, the readiness and competence of music ministers, team coordination, and congregational participation. The study was motivated by differences in musical competence, preparation, coordination, and congregational responses observed in regular Sunday worship and special services. A descriptive qualitative approach was employed, with data collected through literature review, direct observation, semi-structured interviews, and documentation. The research was conducted in February 2026 at GMIM Pniel Watulambot Congregation, Minahasa, North Sulawesi, involving members of the music ministry team selected purposively based on their experience and involvement in worship music. Data were analyzed through data condensation, data display, and conclusion drawing and verification. The findings indicate that liturgical music functions not only as accompaniment but also as a medium for creating the worship atmosphere, directing congregational attention, supporting congregational singing, and facilitating the appreciation of liturgical meaning. Musical implementation varies according to the theme and purpose of worship, with special services generally receiving more intensive preparation. Differences were identified in song mastery, pitch accuracy, rhythmic stability, tempo, dynamics, and coordination. Sudden changes in team composition and limited rehearsal time also affected musical consistency and congregational participation. The study concludes that strengthening liturgical music ministry requires continuous competency development, structured rehearsals, effective coordination, and systematic personnel management while maintaining active congregational participation as its primary orientation.
Bia Music in Batu Village, Likupang, North Minahasa Sri Sunarmi; R. A. Dinar Sri Hartati; Putri Reina Gandawari
Journal of Theory and Practice in Arts Vol. 1 No. 3 (2026)
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This study investigates Bia Music in Batu Village, South Likupang District, North Minahasa Regency, North Sulawesi, focusing on its historical development, organological characteristics, sound production, playing techniques, socio-cultural functions, and sustainability. A qualitative descriptive approach was employed, with data collected through literature review, observation, documentation, and interviews with community members, performers, and local cultural informants. Data were analyzed through data reduction, descriptive presentation, interpretation, and cross-source comparison to strengthen validity. The findings indicate that Bia Music originated from the use of marine shells as signaling instruments and subsequently developed into an organized musical ensemble through local creativity and experimentation. Organologically, Bia is classified as an aerophone because its sound is produced through controlled airflow and resonance within the shell cavity. Different shell types and sizes, including Charonia tritonis, Cassis cornuta, and Stramonita haemastoma, are adapted as melodic and accompanying instruments with differentiated pitch functions. Sound characteristics are strongly influenced by shell morphology, cavity dimensions, embouchure, and blowing pressure, while production and tuning require practical knowledge, precision, and repeated comparison with reference pitches. Bia Music currently functions in entertainment, religious activities, community events, cultural festivals, education, tourism, social interaction, and cultural identity formation. However, its continuity faces challenges related to environmental degradation, declining shell availability, performer regeneration, and cultural transmission. The study concludes that Bia Music constitutes living cultural heritage whose sustainability requires integrated strategies involving intergenerational transmission, documentation, cultural education, community participation, institutional support, artistic development, and environmental conservation.
Penerapan Musik 432hz pada Anak Muda yang Mengalami Gangguan Tidur di Kelurahan Paslaten 1 Shannan Charmaine Cheraphim Kampong; Franklin E. Dumais; R. A. Dinar Sri Hartati
Journal of Theory and Practice in Arts Vol. 1 No. 2 (2026)
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Tidur merupakan kebutuhan fisiologis yang berperan penting dalam menjaga kesehatan fisik, fungsi kognitif, regulasi emosi, dan produktivitas. Gangguan tidur pada anak muda dapat berkaitan dengan tekanan akademik, pekerjaan, aktivitas sosial, penggunaan perangkat digital, serta kebiasaan tidur larut malam. Penelitian ini bertujuan menganalisis penerapan musik 432 Hz sebagai alternatif intervensi nonfarmakologis dalam mendukung kualitas tidur anak muda yang mengalami gangguan tidur di Kelurahan Paslaten 1. Penelitian menggunakan pendekatan kualitatif dengan desain studi kasus. Partisipan berjumlah 21 anak muda berusia 15–24 tahun yang mengalami permasalahan tidur. Data dikumpulkan melalui wawancara mendalam, observasi, dokumentasi, dan jurnal tidur selama satu bulan. Penerapan dilakukan dengan mendengarkan musik 432 Hz selama 15–30 menit sebelum tidur secara rutin setiap malam. Analisis dilakukan melalui pengorganisasian data, pengkodean, pengelompokan tema, interpretasi pola pengalaman, dan triangulasi sumber serta teknik. Hasil penelitian menunjukkan adanya perubahan positif secara bertahap dalam pengalaman tidur responden. Pada minggu pertama, pola tidur masih tidak teratur dengan durasi sekitar 5–6 jam dan kualitas tidur buruk hingga sedang. Pada minggu kedua mulai terlihat proses adaptasi, sedangkan minggu ketiga dan keempat menunjukkan pola tidur yang lebih stabil, durasi sekitar 7–8 jam, waktu tidur lebih teratur, serta kondisi setelah bangun yang lebih positif. Responden juga melaporkan meningkatnya ketenangan, berkurangnya kegelisahan, dan tubuh yang lebih segar. Musik 432 Hz berpotensi menjadi alternatif sederhana untuk mendukung kualitas tidur, meskipun efektivitas spesifik frekuensi ini masih memerlukan pengujian eksperimental lebih lanjut. 
The Role of Individual Practice in Musical Performance at GPDI Galilea, Sendangan Tengah, Kawangkoan District, Minahasa Regency Gratia Tumbelaka; Glenie Latuni; Widyata Sarayar
Journal of Theory and Practice in Arts Vol. 1 No. 2 (2026)
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This study examines the contribution of individual practice to the quality of musical performance in worship ministry at GPDI Galilea Kawangkoan. Individual practice is considered important because church musicians are required not only to master technical skills but also to demonstrate musical understanding, coordination, confidence, and spiritual responsibility during worship. This study employed a descriptive qualitative approach conducted at GPDI Galilea, Sendangan Tengah, Kawangkoan District, Minahasa Regency, North Sulawesi, from October 2025 to April 2026. Participants consisted of musicians involved in keyboard, electric guitar, bass, and drum ministries. Data were collected through direct observation, semi-structured interviews, and documentation, and were analyzed through data reduction, data display, and conclusion drawing or verification. The findings indicate that individual practice contributes significantly to musicians’ technical readiness by improving chord mastery, rhythmic stability, song structure recognition, and instrument-specific skills. Individual preparation also strengthens team cohesion by allowing group rehearsals to focus on synchronization, dynamics, interpretation, and musical expression rather than basic technical difficulties. Furthermore, consistent practice enhances musicians’ musical understanding, self-confidence, and performance stability during worship. Beyond technical and psychological benefits, individual practice has a spiritual dimension, as musicians perceive preparation as an expression of responsibility, discipline, and commitment to ministry. Despite barriers such as limited instruments, time constraints, and differences in motivation, musicians employ adaptive strategies to maintain practice. The study concludes that individual practice is a multidimensional foundation for effective church music ministry.
Fungsi dan Dampak Permainan Drumset dalam Peribadatan di GPDI Pakuure Satu, Minahasa Selatan Keren Kenny Kent Keintjem; R. A. Dinar Sri Hartati; Widyata Sarayar
Journal of Theory and Practice in Arts Vol. 1 No. 2 (2026)
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Penelitian ini bertujuan menganalisis fungsi dan dampak permainan drumset dalam pelayanan ibadah di GPDI Pakuure Satu, Minahasa Selatan, dengan fokus pada organisasi ritmis, koordinasi ansambel, dinamika musikal, transisi lagu, keterlibatan jemaat, dan pembentukan suasana ibadah. Penelitian menggunakan metode kualitatif deskriptif yang dilaksanakan pada Januari–Februari 2026. Data diperoleh melalui wawancara, observasi, studi pustaka, studi media, dan dokumentasi dengan melibatkan gembala sidang, sekretaris jemaat, pemain musik, singers, worship leader, dan jemaat sebagai informan. Data dianalisis secara induktif melalui analisis tematik dan keabsahan data diperiksa menggunakan triangulasi sumber dan teknik. Hasil penelitian menunjukkan bahwa drumset memiliki fungsi pragmatis sebagai pengatur tempo, pengarah dinamika, penanda perpindahan bagian lagu, dan penguat koordinasi antarpemain. Secara estetis, drumset memperkaya tekstur musikal melalui groove, aksentuasi, fill, dinamika, dan variasi style, seperti country atau mars, reggae, funk, disco, swing, blues, ballad worship, dan rock worship. Permainan drumset juga berkontribusi terhadap keterlibatan jemaat melalui respons bernyanyi, tepuk tangan, gerakan tubuh, angkat tangan, dan respons verbal. Perbandingan ibadah dengan dan tanpa drumset menunjukkan bahwa ketiadaan drumset cenderung membatasi variasi ritmis, dinamika, dan fleksibilitas koordinasi musikal, meskipun tidak mengurangi keberlangsungan ibadah. Penelitian menyimpulkan bahwa drumset merupakan bagian dari sistem musikal, sosial, dan ritual yang mendukung keteraturan, ekspresivitas, koordinasi, dan keterlibatan jemaat dalam pengalaman ibadah.
Development of a Pitch System for the Traditional Musical Instrument “Bambu Entel” of the Talaud Islands in Sambuara Village Orion Nando Pangalila; Perry Rumengan; R. A. Dinar Sri Hartati
Journal of Theory and Practice in Arts Vol. 1 No. 2 (2026)
Publisher : CV Wahana Publikasi

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Bambu Entel is a traditional bamboo musical instrument originating from the Talaud Islands, North Sulawesi, Indonesia, whose distinctive construction and sound reflect the cultural knowledge of the Talaud community. However, its limited pitch availability may constrain its integration into broader musical arrangements and contemporary performance contexts. This study aimed to develop a new B-flat (B♭) pitch for Bambu Entel while maintaining its traditional construction principles, acoustic characteristics, and cultural identity. The study employed a Research and Development (R&D) approach using the ADDIE model, consisting of Analysis, Design, Development, Implementation, and Evaluation. The research was conducted in Sambuara Village, Talaud Islands Regency, in June 2025, involving Bambu Entel craftsmen, players, and traditional music and instrument experts. Data were collected through observation, interviews, expert validation, and product testing and were analyzed descriptively. The findings indicate that Bambu Entel production involves integrated knowledge of bamboo selection, harvesting conditions, material treatment, shaded drying, structural dimensions, and empirical tuning. The B♭ pitch was successfully developed through gradual modification of the bamboo node opening, followed by repeated auditory evaluation and adjustment by experienced craftsmen. The process demonstrated that traditional empirical knowledge can effectively support tonal innovation without requiring fundamental changes to the instrument's construction or cultural characteristics. The resulting development expands the tonal functionality of Bambu Entel and creates opportunities for its use in broader musical arrangements, education, and contemporary performances. The study concludes that culturally grounded acoustic innovation can contribute to both the musical revitalization and sustainable preservation of Bambu Entel as Talaud cultural heritage.

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