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Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts)
Published by Institut Seni Indonesia Yogyakarta
ISSN : -     EISSN : 23386770     DOI : https://doi.org/10.24821/resital
Core Subject : Humanities, Art,
Arts Humanities
Resital : Jurnal Seni Pertunjukan merupakan jurnal ilmiah berkala yang ditujukan untuk mempublikasikan karya ilmiah hasil penelitian, pengembangan, dan studi pustaka di bidang seni pertunjukan. Jurnal Resital pertama kali terbit bulan Juni 2005 sebagai perubahan nama dari Jurnal IDEA yang terbit pertama kali tahun 1999.
Arjuna Subject : -
Articles 303 Documents
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H. Sastro sebagai Penggerak Mamaca di Pamekasan Madura Dana, I Wayan; Kusmayati, A. M. Hermien
Resital: Jurnal Seni Pertunjukan Vol 19, No 2 (2018): Agustus 2018
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v19i2.4133

Abstract

Penelitian ini bertujuan untuk memahami Mamaca dan menjelaskan peran H. Sastro sebagai penggerak Mamaca di Madura. Data diperoleh dengan wawancara dan observasi. Mamaca berarti membaca suatu kisah yang bersumber dari naskah tertentu. Tuntunan dalam Mamaca antara lain mengetengahkan pengetahuan tentang tahapan-tahapan kehidupan manusia sejak lahir, masa kanak- kanak, saat dewasa, hingga akhirnya meninggal dunia. Mamaca sebagai wujud seni pertunjukan, selain memuat aspek-aspek yang bernilai tatanan dan tuntunan, juga menyajikan aspek-aspek estetik yang ditampilkan oleh suatu tontonan. Berdasar penelitian dapat disimpulkan bahwa H. Sastro memiliki peran sebagai penjaga dan penggerak seni pertunjukan Mamaca di Pamekasan Madura yang tergabung dalam kelompok Mamaca “Rukun Sampurna”. Mamaca selalu berkembang dan memiliki peran penting dalam pendidikan nilai-nilai kehidupan masyarakat Pamekasan.ABSTRACTH. Sastro, a Mover of Mamaca in Pamekasan Madura. This study aims to understand Mamaca and explain the role of H. Sastro as a mover of Mamaca in Madura. Data were obtained by carrying out the interview and observation. Mamaca means reading a story that comes from a certain script. The guidance in Mamaca, among others, presents knowledge about the stages of human life from birth, childhood, adulthood, and finally death. Mamaca is as a form of performing arts, besides containing aspects that are of value order and guidance, it also presents the aesthetic aspects displayed by a spectacle. Based on the research, it can be concluded that H. Sastro has a role as the guardian and mover of the Mamaca performing arts in Pamekasan Madura which is a part of the Mamaca group “Rukun Sampurna”. Mamaca is always developing and has an important role in the values education of the Pamekasan community.Keywords: mamaca; pamekasan; the art of recitation
Pembelajaran Dolanan Jawa Berbasis Pilar-pilar Pendidikan bagi Anak Usia Dini Budi Raharja
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 21, No 3 (2020): Desember 2020
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v21i3.4611

Abstract

The pillars of education (knowledge, skills, social or cooperation, individual, and spiritual) are used as media to expand the achievements of Javanese dolanan learning, which generally focus on social-emotional aspects only. The results of this study are expected to be used as a reference for stakeholders, especially Kindergarten teachers, as a medium for teaching Javanese dolanan to create a generation who is knowledgeable, has adequate skills, and has a high social spirit, and humble and obedient to worship as well. The experimental research method was used in this study to test the application results. In contrast, the research design is Single Subject Research (SSR) or single subject (group) which functions as an intervention group and a control group to test the intervention results. The research was carried out at Pertiwi 3 Kindergarten, Sinduadi, Mlati, Sleman Yogyakarta by giving a group of school students training to play Javanese dolanan entitled recreation, accompanied by children’s gamelan for six months (twice a week). After having the treatment, their behaviour changes were identified, calculated, and grouped based on the respective development field groups. As a result, Javanese dolanan learning based on educational pillars contains development aspects of the physical, motoric, cognitive, language, artistic, and children social-emotional. In contrast, the number of development materials includes 60 learning development materials.
Mengukur Perubahan Hasil Belajar Mahasiswa Melalui Penggunaan Modul Teori Musik Akbar, Mohamad Alfiah; Jatmika, Ovan Bagus
Resital: Jurnal Seni Pertunjukan Vol 21, No 1 (2020): April 2020
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v21i1.3362

Abstract

Penelitian ini bertujuan untuk mengukur perubahan hasil belajar mahasiswa kelas teori musik sebelum dan sesudah diterapkan modul teori musik. Metode penelitian yang digunakan adalah penelitian tindakan kelas (PTK) yang dilaksanakan dalam dua siklus. Adapun tahapan dalam penelitian ini meliputi, tahap perencanaan, pelaksanaan tindakan, observasi, dan refleksi. Data yang diperoleh antara lain hasil belajar mahasiswa, hasil observasi aktivitas belajar mahasiswa yang diperoleh dari lembar observasi dan hasil wawancara. Hasil penelitian pada siklus I menunjukkan bahwa ada peningkatan hasil belajar mahasiswa, namun masih ada mahasiswa yang mendapat nilai pada kategori kurang. Selain itu, sebagian mahasiswa masih belum terbiasa dalam penggunaan modul. Sedangkan hasil penelitian pada siklus II ada peningkatan hasil belajar mahasiswa yang signifikan jika dibandingkankan dengan sebelum penerapan modul teori musik dan pada siklus I. Hasil ini menunjukkan bahwa penggunaan modul ajar dapat meningkatkan hasil belajar mahasiswa pada mata kuliah teori musikABSTRACTMeasure changes in student learning outcomes through the use of music theory module. This study aims to measure changes in student learning outcomes in music theory classes before and after the music theory module is applied. The research method used was classroom action research (CAR), which was carried out in two cycles. The stages in this study include, the planning stage, the implementation of actions, observation, and reflection. The data obtained include student learning outcomes, observations of student learning activities obtained by observation sheets and interview results. The results of the study in the first cycle showed that there was an increase in student learning outcomes, but there were still students who scored in the poor category. In addition, some students are still unfamiliar with using modules. While the research results in the second cycle there is an increase in student learning outcomes significantly if dibandingkankan with prior application of music theory modules and the first cycle. These results indicate that the use of teaching modules to improve learning outcomes of students in the subject of music theory.Keywords: modules; music theory; learning outcomes
SIGHT SINGING SEBAGAI STRATEGI PEMBELAJARAN INSTRUMEN PIANO DI PRODI PENDIDIKAN MUSIK ISI YOGYAKARTA Suryati, Suryati; Widodo, Tri Wahyu
Resital: Jurnal Seni Pertunjukan Vol 21, No 2 (2020): Agustus 2020
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v21i2.3379

Abstract

Sight Singing is the ability to read the notation and immediately sing the tune in accordance with the melody on the sheet music. Sight Singing is the activity of singing with solmisasi or movabel "do". This study aims to improve the ability to read beam notation in learning mandatory piano instruments using the Sight Singing approach. The Mandatory Piano Instrument course is one of the practical courses that must be taken by all Music Education Study Program students, ISI Yogyakarta. Not all new students in Music Education Study Program can read the beam notation, so this Piano Compulsory Instrument course course is always feared by students who have not read fluent notation. Sight singing as a strategy to enhance the learning of Piano Mandatory Instruments. This research is focused on the application of Sight singing in learning Mandatory Piano Instruments in Music Education Study Program. This research uses Classroom Action Research which can be categorized as a qualitative-experimental research by applying the Sight singing method. The results of this study are the learning process of the Mandatory Piano Instrument with the application of the Sight singing method more effectively to improve the ability to learn to read notation while playing the Piano Instrument, and students can be more expressing, impressed singing by accompanying themselves.
Penggunaan Fruity Loops Studio dalam Pembelajaran Konsep Musik Tonal dengan Berkarya Musik Populer untuk Peserta Didik SMA Rahman, Pispian; Sukmayadi, Yudi
Resital: Jurnal Seni Pertunjukan Vol 21, No 1 (2020): April 2020
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v21i1.4103

Abstract

Artikel ini membahas pembelajaran seni musik menggunakan aplikasi Fruity Loops Studio yang dapat mengolah data suara dan bunyi secara digital. Namun, keberhasilan pembelajaran dengan menggunakan aplikasi Fruity Loops dalam pembelajaran memiliki berbagai aspek yang harus diperhatikan agar fitur-fitur membuat musik yang tersedia dalam aplikasi dapat digunakan dengan efektif. Artikel ini bertujuan untuk membahas tingkat kemajuan musikal yang dapat dicapai, mengidentifikasi kendala dalam pembelajaran, memberikan umpan balik dan informasi penting untuk perbaikan pembelajaran. Penelitian ini menggunakan metode analisis deskriptif. Pengumpulan data dilakukan dengan menggunakan teknik observasi, wawancara, studi literatur, dan dokumentasi dengan data utama hasil karya musik peserta didik. Hasil Penelitian ini menunjukkan perlunya prasyarat ruang lingkup materi ajar dengan konsep musik Tonal yang harus dikuasai secara baik serta dapat diamatinya peningkatan kemampuan musikal melalui pengalaman auditif bagi peserta didik dalam penugasan membuat karya musik populerABSTRACTThe Use of Fruity Loops Studio in Learning Concept of Tonal Music With Popular Music Working for High School Students. This article discusses learning the art of music using the Fruity Loops Studio application that can process sound and sound data digitally. However, the success of learning by using the Fruity Loops application in learning has various aspects that must be considered so that the features that make music available in the application can be used effectively. This article aims to discuss the level of musical progress that can be achieved, identify obstacles in learning, provide feedback and important information for learning improvement. This research uses descriptive analysis method. Data collection is done using observation techniques, interviews, literature studies, and documentation with the main data of students' musical works. The results of this study indicate the need for prerequisites for the scope of teaching material with the concept of Tonal music that must be mastered properly and can be observed in improving musical ability through auditive experience for students in the assignment to make popular music works.Keywords: Tonal Music; Popular Music; Fruity Loops; Musical Intelligence.
Dangdut dan Kesehatan dalam Masyarakat Alfionita, Elya Nindy
Resital: Jurnal Seni Pertunjukan Vol 19, No 2 (2018): Agustus 2018
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v19i2.3339

Abstract

Artikel ini membahas wacana tentang dangdut dan kontribusinya bagi kesehatan masyarakat. Dangdut dapat menjadi solusi untuk menstabilkan gelombang otak pada penderita skizofrenia, baik itu skizofrenia paranoid, skizofrenia hebrefenic, skizofrenia residual, dan skizofrenia tidak spesifik. Familiaritas adalah faktor utama pada pasien skizofrenia yang mencapai kondisi gelombang otak yang ideal. Keakraban yang melekat pada pasien skizofrenia terbentuk karena kontribusi (1) pengalaman musik pasien selama hidupnya (2) Pengalaman budaya di mana ruang membentuk karakter psikis seseorang (3) Pengalaman sosial pasien skizofrenia yang berkontribusi penuh terhadap rasa. Keterikatan emosional pasien dengan musik yang akrab membantu mengembalikan bagian pra frontal dari konteks, terutama bagian yang mengendalikan sistem saraf emosional (amigdala). Karena amigdala berkontribusi penuh pada saraf yang berhubungan dengan denyut jantung.Dangdut and Health in Society. The article discusses the discourse about dangdut and its contribution to public health. Dangdut can be a solution to stabilize brain waves again in people with schizophrenia. In the type of paranoid schizophrenia, hebrefenic schizophrenia, residual schizophrenia, and unspecified schizophrenia. Familiarity is a major factor in schizophrenia patients achieving ideal brain wave conditions. Familiarity inherent in schizophrenic patients is formed because of the contribution of (1) the patient's musical experience during his life, (2) cultural experiences in which space forms a person's psychic character, (3) the social experience of schizophrenic patients who contributes fully to taste. Patient's emotional attachment to familiar music helps to restore the pre-frontal part of the context, especially the controlling part of the emotional nervous system (amygdala). Because the amygdala contributes fully to the nerves associated with heart rate.Keywords: Schizophrenia; Familiarity; Brain Waves
Rancangan Garap Karya Gending Sekar Jagad Berbasis Motif Batik Gaya Yogyakarta Umilia Rokhani; Haryanto Haryanto
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 21, No 3 (2020): Desember 2020
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v21i3.4110

Abstract

The creation of works employing transforming media becomes an exciting breakthrough in the art industry to study. Using the concept of changing the media, the meeting of the two different media, such as art and music, provides opportunities for the emergence of a broader range of creative work. The design of musical works based on the inspiration and philosophy from the media of batik has complexity and beauty and high value as the great works from the Indonesian ancestors. Sekar Jagad is a title for the composition of musical design, taken from the name of a batik motif that is very familiar in Javanese culture. By understanding the basic batik motifs such as gringsing, kawung, machete, nitik, cement and poleng, the elements of vocal melodies performed in two different voices gave an overview of the concept of the Sekar Jagad batik motif. It indeed required knowledge of the shape, function and character of the batik motif itself as the basis for gending in musical arts. The melody arrangement was made entirely with two tunings or pelog and slendro scales. It was intended to find the characters that best suits the characteristics and philosophy of batik. The elements of batik motifs that were put together into one Sekar Jagad batik motif were then applied through vocal melodies and supported by lyrics that described some of these batik elements.
Ki Wiryah Sastrowiryono dalam Dunia Karawitan Jawa: Guru, Pengrawit, dan Pencipta Gendhing Pudjasworo, Bambang
Resital: Jurnal Seni Pertunjukan Vol 19, No 2 (2018): Agustus 2018
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v19i2.4922

Abstract

Tulisan ini bertujuan mengungkap sisi-sisi kehidupan Ki Wiryah Sastrowiryono sebagai salah seorang empu karawitan Jawa yang sepanjang hidupnya telah mengabdikan diri dalam dunia karawitan Jawa, baik sebagai pendidik di SMKI (KONRI) Yogyakarta, ISI Yogyakarta, Taman Kesenian Taman Siswa, Pamulangan Beksa Ngayogyakarta, dan Yayasan Gambirsawit Yogyakarta. Ia berperan sebagai pengrawit, maupun sebagai pencipta gendhing untuk sajian karawitan dan iringan tari. Dedikasinya sebagai seorang pendidik karawitan Jawa antara lain tampak dalam kegiatannya sebagai staf pengajar di materi pelajaran karawitan yang dituangkan ke dalam buku-buku ajar karawitan Jawa yang ditulis tahun enampuluhan sampai delapan puluhan. Tulisannya banyak diterbitkan oleh Majelis Luhur Taman Siswa dan SMKI (KONRI) Yogyakarta. Buku-buku karya Ki Wiryah Sastrowiryono ini telah banyak digunakan sebagai buku pegangan bagi para guru dan siswa/mahasiswa yang mempelajari karawitan Jawa Gaya Yogyakarta.ABSTRACTKi Wiryah Sastrowiryono in the Field of Javanese Karawitan: A Teacher, Player, and Gendhing Composer. This paper aims to reveal the aspects of Ki Wiryah Sastrowiryono’s life as one of the Javanese gamelan masters who throughout his life devoted himself to Javanese gamelan, both as an educator at the Indonesian Karawitan High School Yogyakarta SMKI (KONRI), ISI Yogyakarta, Taman Siswa Arts Community, Pamulangan Beksa Ngayogyakarta, and Yogyakarta Gambirsawit Foundation. He had some essential roles as a gamelan player (pengrawit), as well as a composer of pieces for musical offerings and dance accompaniment. His dedication as a Javanese gamelan educator can be seen, among other things, in his activities as a teaching staff for musical lessons which were translated into Javanese musical textbooks written in the sixties to the eighties. His writings had mostly been published by the Taman Siswa Luhur Council and the Yogyakarta SMKI (KONRI). These books by Ki Wiryah Sastrowiryono have been widely used as handbooks for teachers and students studying Javanese gamelan of Yogyakarta style.Keywords: Wiryah; Sastrowiryono; gendhing 
Konsep Musikal Instrumen Kendang dalam Gamelan Gong Kebyar I Putu Danika Pryatna; Hendra Santosa
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 21, No 2 (2020): Agustus 2020
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v21i2.4220

Abstract

Memegang peranan sebagai seorang pengendang Bali di dalam sebuah barungan gamelan gong kebyar, ternyata tidak sesederhana yang terlihat. Menjadi seorang pengendang di dalam sebuah sekeha gamelan gong kebyar Bali, harus memiliki jiwa kepemimpinan, agar sebuah sekeha dapat menampilkan pertunjukan yang bagus. Tidak semua pengendang Bali memiliki jiwa seperti itu, itu dikarenakan tidak semua pengendang tekun dalam melatih dirinya agar memiliki teknik dan kepekaan musikal yang baik. Peneliti ingin mengetahui konsep seorang pengendang yang ada di dalam memimpin sebuah sekeha gamelan gong kebyar Bali. Penelitian ini menggunakan metode deskriptif kualitatif,yang dalam implementasinya menggunakan teknik observasi, wawancara, studi pustaka dan dokumentasi. Hasil yang ditemukan di dalam penelitian ini adalah konsep  musikalitas seorang pengendang Bali di dalam memimpin sebuah pertunjukan gamelan gong kebyar Bali. Konsep musikalitas ini meliputi teknik bermain kendang, mengatur dinamika lagu, mengatur tempo, memulai gending dan mengakhiri gending. Dalam praktikalnya konsep musikalitas ini di implementasikan melalui bahasa tubuh, pola kendang dan keras lirihnya suara kendang.  Konsep  musikalitas ini sangat penting dimiliki oleh seorang pengendang Bali, agar sebuah pertunjukan menjadi lebih bagus dan rapi, sehingga dapat memukau penonton.   Musical Concept Of Kendang Instruments In Gamelan Gong Kebyar. Holding the role of a Balinese tamer in a barong gamelan kebyar, was not as simple as it seems. Being a controller in a gamelan gong kebyar in Bali, must have a soul of leadership so that a school can show a good performance. Not all Balinese people have such a soul, that is because not all Balinese performers are diligent in training themselves to have good musical techniques and sensitivity. The researcher wants to know the concept of a person who is in charge of leading a gamelan gong kebyar in Bali. This research uses descriptive qualitative method, which in its implementation uses observation, interview, literature study and documentation techniques. The results found in this study are the musical concept of a Balinese tamer in leading a Balinese kebyar gong gamelan performance. This musicality concept includes the technique of playing the drum, adjusting the dynamics of the song, adjusting the tempo, starting the gending, and ending the gending. In practice, the concept of musicality is implemented through body language, drum patterns, and loud sounds. The concept of musicality is very important owned by a Balinese performer, so that performance becomes better and neater so that it can amaze the audience.
Post – Harmony Sangposangan As Dynamic Existence of Madurese People In Digital era Hidayatullah, Panakajaya
Resital: Jurnal Seni Pertunjukan Vol 21, No 1 (2020): April 2020
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v21i1.3995

Abstract

Post – Harmony Sangposangan As Dynamic Existence of Madurese People. In Digital era This paper is a result of anthropology research by using cultural studies perspectives. This article, comprehensively, discuss; 1) musical relation between Western and traditional music in sangposangan; 2) a kind of ‘post-harmony’ sangposangan by using musicology analysis through musical text of Angling Madura song. The result of study shows an encounter between western and Madurese traditional music in sangposangan music which can produce a new musical entity (harmony of other).  Post-harmony sangposangan is manifested in dynamic composition which are; 1) dangdut composition in EDM syle, and 2) contrast change from dangdut koplo to pure dangdut. Post-harmony can be read as intuition, emotion, sense and instinct which can drive creative process of sangposangan music. It does not come from rigid notation system but it is constructed from rhythm of Madurese people’s life.ABSTRAKTulisan ini merupakan hasil penelitian antropologi musik dengan menggunakan perspektif kajian budaya. Secara komprehensif artikel ini menelaah tentang 1) relasi musikal antara musik Barat dan tradisional dalam musik sangposangan; 2) menelaah tentang bentuk ‘post-harmoni’ sangposangan melalui analisis musikologis dari teks musikal gending Angling Madura. Hasil kajian menunjukkan bahwa pertemuan musikal antara musik Barat dan tradisional Madura dalam musik sangposangan mampu menghasilkan sebuah entitas musikal yang baru (‘harmoni yang lain’). Post-harmoni sangposangan diwujudkan dalam dinamika garap yang dinamis yaitu 1) garap dangdut ala EDM, dan 2) perubahan kontras dari dangdut koplo ke dangdut piur. Post-harmoni dapat dibaca sebagai sebuah naluri, emosi, sense dan insting yang menjadi penggerak dari proses kreatif musik sangposangan. Ia tidak berangkat dari sistem notasi yang kaku, tetapi dibangun dari ritme kehidupan masyarakat Madura.Kata kunci: Sangposangan; Post – Harmony; Madura, Musik

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