cover
Article Per Year (5 Year)
All
Home Page
OAI Link
Editorial Team
Contact
Reviewer
Google Scholar
Contact Name
-
Contact Email
-
Phone
-
Journal Mail Official
-
Editorial Address
-
Location
Kab. bantul,
Daerah istimewa yogyakarta
INDONESIA
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
 18   19   20   21   22 
Peranan Kesenian Adok Sebagai Sarana Pendidikan Estetika Pada Masyarakat di Korong Ubun-Ubun Selvi Kasman; Fahmi Marh; Saaduddin Saaduddin
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.v21i3.4467

Abstract

This paper aims to reveal the aesthetic values and ideas contained in the musical art of Adok in Korong Ubun-Ubun, which acts as a means of aesthetic education for the performing arts community and the supporting community. As a virtue contained in Adok art, the aesthetic values and ideas make the position of Adok art different when compared to other traditional arts, so that the research is important. The research location was Jorong Ujuang Ladang, Korong Ubun-Ubun, Kanagarian X Koto Singkarak, Solok Regency. The object of research was Art Adok, focusing on the aesthetic aspects of the performance. This study uses an ethnographic approach and data collection techniques through participant observation. Minang values related to the value of taste (aesthetics) in Adok art contribute positively to the perspective of the supporting community so that they can change people’s perceptions and understanding of Adok art. The results of this study can also prove that the Adok art can be one of the presentations of Minang’s which the supporting community has not realized. 
Garap Rujak-rujakan dalam Sindhenan Gaya Surakarta Suyoto Suyoto
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.v21i2.4365

Abstract

ABSTRACTThis research reveals of garap rujak-rujakan in the Surakarta style sindhènan. Some issues to be explored in this reasearch are related to the garap rujak-rujakan, how to interpret balungan rujak-rujakan, and the function of rujak-rujakan in Surakarta-style sindhènan. These point are explained based on data on the presentation of musical instrument as a factual data exploration media. Data collection was carried out by means of literature studies, interviews, and also as a participant observer.The data collection was carried out by literature study, interviews, and also as a participant observer. The analysis is carried out by reinterpreting the thoughts and experience of the pengrawit through pragmatic reality. The interpretation uses interpretation method and garap analysis. The explanation and getting conclusions are carried out by the inductive method.The results obtained are that the rujak-rujakan is included in the shredded category which has a complementary and varied function. There are four types of rujak-rujakan models, namely rujak-rujakan with a descending melody, rujak-rujakan with an upward melody, rujak-rujakan with kempyung melody sèlèh, and rujak-rujakan with flat tones. Céngkok rujak-rujakan can be applied to melody compositions that reflect the core of the rujak-rujakan melody. So if there is a balungan melody that reflects the melody rujak-rujakan, then a pesindhèn can fill the balungan with céngkok rujak-rujakan. Rujak-rujakan is facultative, but its presence gives color or variety to the sindhènan.
Pengaruh Posmodernisme terhadap Karya Gitar: Studi Kasus Karya Roland Dyens, Andrew York, dan Leo Brower Koapaha, Royke Bobby
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.v19i2.3518

Abstract

Postmodernisme dapat dikatakan sebagai penolakan atau kritik terhadap modernisme Barat yang berorientasi pada kemajuan. Ciri posmodernisme seperti alam tanpa titik pusat atau hilangnya fokus yang mengontrol akan segala sesuatu, tidak ada standar yang berlaku umum atau universal untuk mengukur, menilai dan mengevaluasi suatu konsep atau gaya hidup tertentu. Repertoar musik gitar tidak dapat dipisahkan dari pengaruh posmodernisme. Hingga saat ini relatif belum ada penelitian seputar pengaruh posmodernisme pada repertoar musik gitar.  Penelitian ini bertujuan akan mengkaji pengaruh posmodernisme terhadap karya-karya musik untuk Gitar dari Roland Dyens, Andrew York dan Leo Brouwer. Data-data penelitian ini didapat dari studi literatur mengenai wacana posmodernisme secara umum, wacana posmodernisme dalam musik, serta menganalisis pemikiran-pemikiran posmodernisme pada karya musik untuk Gitar. Dari hasil penelitian disimpulkan bahwa karya-karya musik untuk Gitar yang diciptakan oleh Roland Dynes, Andrew York, dan Leo Brouwer mendapat pengaruh posmodernisme dari musik jazz, rock, musik rakyat dan musik klasik. Ketiga komposer ini menggunakan idiom-idiom musik yang tidak hanya terbatas pada musik klasik, namun menggunakan idiom-idiom dari berbagai macam musik, termasuk musik populer.Postmodernism can be agreed as a rejection or criticism of western modernism which oriented on a progression. Its characteristic like a world without center point or without focus that can control everything, there is no certain standard to measure, assess, and evaluate a particular concept or lifestyle. The guitar music repertoire cannot be separated from the influence of  postmodernism. Until now there has been relatively no research on the influence of postmodernism on the guitar music repertoire. This research aims describing the effect of postmodernism towards guitar’s music composed by Roland Dynes, Andrew York, and Leo Brouwer. The data gathered from literature study on postmodernism discourse, postmodernism in music, and also the analysis of postmodernism thoughts on guitar’s music. The result shown that the effect of postmodernism lies on musical works from Roland Dynes, Andrew York, and Leo Brouwer. Those composers using not only western classical music idioms, but also jazz, rock, folk music, including popular music. Keywords: Postmosernism; guitar; Roland Dynes; Andrew York; Leo Brouwer
Repertoar Musik Keroncong Dengan Menggunakan Idiom Musik Sunda: Implementasi Model Pembelajaran Kolaborasi pada Mata Kuliah Sejarah Analisis Musik Indonesia di Departemen Pendidikan Musik FPSD UPI Bandung Hery Supiarza; Harry Tjahjodiningrat
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.v21i3.4740

Abstract

Analysis at the Department of Music Education, FPSD, Universitas. Pendidikan Indonesia This study discusses the Implementation of Collaborative Learning Models in the History course of Indonesian music analysis at the Department of Music Education, UPI Baandung FPSD. The researcher as a lecturer in this course intends to add to the repertoire of keroncong songs, which since the 1980s keroncong song production has stalled due to competition in the Indonesian music industry. The Action Research method was used in this study to develop students' abilities in creating keroncong songs. 7 stages are used, starting from initial observation, analysis, combining ideas and ideas into big themes, evaluation exercises 1, recording and mastering. The results of this study created 10 keroncong music recordings as a product of a pure repertoire of student collaboration with the Sundanese traditional approach as the basis for creation. Future research will improve the 10 products into a more professional recording result. This research can be a reference for the application of collaborative learning models to create student work and creations in the arts.
Representasi Konsep Patet dalam Tradisi Garap Gamelan Bali Ardana, I Ketut Ketut
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.v21i1.4213

Abstract

Patet merupakan salah satu persoalan penting karena memiliki keberagaman dalam tradisi garap pada setiap gamelan Bali.. Sayangnya, keberagaman tersebut tidak terpublikasi dan terumuskan secara komprehensif menjadi sebuah teori yang dapat menjelaskan patet gamelan Bali. Salah satu garap patet yang unik, yang diangkat dalam penelitian ini adalah implementasi patet dalam Gamelan Gong Suling. Gamelan ini merupakan salah satu gamelan yang tidak eksis di masyarakat, namun sesungguhnya memiliki fleksibelitas dalam konsep penggarapan terutama persoalan patet yang berbeda dengan gamelan Bali lainnya. Oleh sebab itu, rumusan masalah dalam penelitian ini adalah bagaimana implementasi patet dalam Gamelan Gong Suling. Metode penelitian didasarkan pada metode analisis deskriptif melalui teori garap. Ada dua aspek analisis utama tentang garap Gamelan Gong Suling: (1) pengelompokan tungguhan (instrumen), dan (2) konsepsi musik. Sedangkan untuk instrumennya, Gamelan Gong Suling terdiri dari seruling Bali, kendang, cengceng ricik, kajar, klenang, dan gong pulu. Mengenai fungsi alat musiknya, seruling Bali memainkan melodi (bantang gending, bon gending, payasan gending), kendang memainkan payasan gending, cengceng ricik memainkan pengramen, dan gong pulu memainkan pesu mulih. Konsep musik Gamelan Gong Suling menyangkut: materi garap, prabot garap atau piranti garap, dan penentu garap. Mengenai materi garap, Gamelan Gong Suling memiliki nada dasar yang disebut Bantang Gending; mengenai Piranti Garap, Gamelan Gong Suling memiliki lima tetekep: tetekep deng, dang, dong, dung dan ding; Adapun tentang Penentu Garap, terdapat empat ragam garap dalam Gamelan Gong Suling: garap tabuh petegak, garap prosesi, garap kreasi, dan garap dolanan.ABSTRACTThe Representation of Patet Concept in the Working Tradition of the Balinese Gamelan. Patet is an actual problem because it has diversity in the working tradition of the Balinese gamelan. Unfortunately, this diversity is not published and formulated comprehensively into a theory that can explain the patet of the Balinese gamelan. One of the unique patet works raised in this study is the representation of patet in Gamelan Gong Suling. This gamelan is one of the gamelans that does not exist in society. It has flexibility in the concept of gamelan works, especially the problem of patet, which is different from other Balinese gamelan. Therefore, the formulation of the situation in this study is implementing the patet in Gamelan Gong Suling. The research methodology is based on the descriptive analysis method through garap theory. There are two main analysis aspects concerning the work of Gamelan Gong Suling: (1) the tungguhan (instrumens) grouping, and (2) the musical conception. As for the instrumentation, Gamelan Gong Suling is composed of Balinese flutes, kendang, cengceng ricik, kajar, klenang, and gong pulu. Regarding the function of the instruments, Balinese flutes play the melody (bantang gending, bon gending, payasan gending), kendang plays the payasan gending, cengceng ricik plays the pengramen, and gong pulu plays the pesu mulih. The musical concept of Gamelan Gong Suling concerns: garap material, prabot garap or piranti garap, and penentu garap. Regarding the works, Gamelan Gong Suling has a fundamental melody called Bantang Gending; for what concerns to Piranti Garap, Gamelan Gong Suling has five tetekep: tetekep deng, dang, dong, dung, and ding; as for what regards as Penentu Garap, there are four garap styles in Gamelan Gong Suling: garap tabuh petegak, garap prosesi, garap kreasi, and garap dolanan.Keywords: form; patet; garap; gamelan
Investigating the Indonesia Folk Song Arrangement in Six Choir Competition, 2019 Rachel Mediana Untung
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.v21i2.4357

Abstract

This study is aimed at investigating the trend of folk song arrangement in six Choir Competitions Folklore Category, 2019. It is specifically focused on investigating three things: the trend of arrangers’ names, title of, origin of folk songs performed in the competitions, the characteristic of the arrangement and relationship between the arrangers and the national choir competitions committee. The reason of choosing the topic is because such a folk song arrangement is seen to be one of the key factors in conducting a choir competition, folklore category. As for the research method, it is more on music behaviour in a relational teritory. Therefore, it used a document study and qualitative research design. In this case, the researcher observed in six choir competitions and interviewed the arrangers, choir leaders, and musicians taking apart in the competitions. The findings revealed that the most frequently used arrangement was Ken Steven’s “Cikala Le Pong Pong”, the most popular arranger was Budi Susanto Yohanes, and Java and Madura were the two origins from which most of the folk songs were performed in choir competitions. The characteristic of the most popular one due to its unique arrangement in the form of vibrant music rhythm and body percussion. It revealed that an arranger is the first key agent in a systemic social-organization mechanism like in a choir competition.
Musik Karawitan untuk Lagu Dolanan Anak Siswadi, Siswadi; Budi Prasetya, Hanggar; Wahyu Widodo, Tri
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.v19i2.3918

Abstract

Musik Karawitan merupakan permainan musik tradisi yang harus dipelihara agar seni musik karawitan terus berlangsung. Mempertahankan keberlangsungan musik karawitan dengan cara regenerasi sumber daya manusianya. Untuk menumbuhkan kegiatan musik karawitan akan baik bila dimulai dari anak-anak. Proses musik karawaitan untuk anak tentu diperlukan teknik dan kajian tertentu. Aktivitas musik karawitan untuk anak diawali dengan lagu dolanan yang mudah dan menarik bagi anak. Artikel ini hasil dari penelitian yang bertujuan untuk menguji apakah lagu-lagu dolanan anak yang diiringi oleh gamelan sudah sesuai dengan ambitus dan jiwa anak. Penelitian yang dilakukan dengan cara mengamati lima lagu dolanan yang diiringi gamelan. Analisis lagu dolanan dilakukan dengan cara membandingkan lima lagu yang memiliki ambitus anak rata-rata. Hal yang penting dalam pembahasan musik karawitan untuk anak yaitu memberikan pemahaman untuk mencari teknik yang tepat dalam olah vokal untuk karawitan anak. Berdasarkan hasil penelitian disimpulkan bahwa lagu lagu dolanan yang berkembang saat ini masih kurang tepat untuk anak.Karawitan Music for Children's Dolanan Songs. Karawitan Music is a traditional music game that must be maintained so that the art of traditional music continues. The continuity to preserve the Karawitan music should be carried out by regenerating its human resources. It is essential to growing musical activities starting with children. The process of karawitan music activities for children certainly requires specific techniques and studies. The activities may begin with easy and exciting dolanan songs for children. This article is the result of research that aims to test whether the children's songs accompanied by gamelan are following the ambitus and soul of the children or not. The study was carried out by observing five Dolanan songs accompanied by the gamelan. The analysis of Dolanan song was done by comparing five songs which had the ambitus of an average child. The important thing in the discussion of karawitan music for children is to provide understanding to find the right techniques in vocal processing for children's music. Based on the results of the study, it is concluded that Dolanan songs which are developing at this time are still not appropriate for children.Keywords: children karawitan music; ambitus; dolanan song
City Branding Ambon City Of Music Sebagai Folk Identity Music Di Maluku Aksa Noya
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.v21i3.4488

Abstract

The article of city branding on Ambon City of Music discusses the legalisation of folk music identity in Maluku. By using the qualitative research method with a case study approach. Data obtained were primary data in the field, and the secondary data were obtained from various media. Data was collected by doing direct interviews and essential documents. Ambon City of Music is an iconic branding that becomes the identity for the people of Maluku. The people of Maluku have music DNA so that it is worth mentioning as a City of Music. It can be seen through the selection of Ambon city as a City of Music by UNESCO in October 2019. Ambon City has become a new identity to introduce the musical culture of the Maluku people. Music is used as social capital in creating peace, while the acculturation of the folk music genre is a symbol of community identity in Maluku. The author argues that the branding of Ambon City of Music itself elevates the dignity of folk music identity. The people of Maluku are known as having the highly musical skills, singing, and experts in playing traditional instruments, such as tifa, totobuang, bamboo flute, tahuri, etc. The recognition by UNESCO strengthens the musical identity of the people of Maluku in the world. Ambon city branding is a legitimation of Maluku folk identity in music and singing and a city of peace because of the music, with the result of the people of Maluku collectively having an awareness of primordial relations.
Sasando Gaya Edon: Kajian Organologi dan Penyeteman Tukan, Maria Klara Amarilis Citra Sinta Dewi
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.v21i1.3693

Abstract

Sasando merupakan alat musik tradisional khas pulau Rote-NTT. Sasando merupakan alat musik keluarga sehingga memiliki beragam teknik penyeteman sesuai dengan gaya permainan masing-masing keluarga. Dewasa ini telah banyak penelitian yang dilakukan tentang sasando namun belum ada yang memberikan perhatian khusus pada teknik menyetem sasando. Penelitian ini merupakan penelitian kualitatif yang bertujuan untuk mendeskripsikan organologi dan teknik penyeteman sasando berdasarkan gaya Edon. Hasil penelitian menunjukkan bahwa sasando memiliki sembilan bagian utama yaitu: (1) koan, (2) kepala sasando, (3) sekrup pengikat dawai, (4) tabung bambu, (5) dawai, (6) senda, (7) haik (sebagai resonator pada sasando tradisional), (8) bokong sasando; dan (9) socket input/output (sasando elektrik). Berkaitan dengan penyeteman pada gaya Edon, sasando menggunakan beberapa tangga nada, misalnya tangga nada D dan A atau tangga nada E dan B, sehingga bisa melakukan modulasi. Untuk tangan kiri, permainan sasando gaya Edon menggunakan dua nada sol yaitu sol kecil sebagai center (melodi) dan sol besar (bas) yang terletak tepat di sebelah center searah jarum jam. Untuk melodi (tangan kiri), sasando disetem dari nada sol dengan nada setengahnya yaitu fis dan li pada nada tinggi, sedangkan komposisi nada rendahnya yaitu do, si, li, fis, sol. Untuk ritme (tangan kanan), sasando disetem dari bas searah jarum jam dengan nada do, re, mi, fa, sol, la, si, do sampai mi tinggi (masuk pada oktaf kedua), sedangkan dua dawai sisa disetem untuk nada fis dan cis. Selain dua dawai sisa tersebut, terdapat juga dawai-dawai di bagian melodi dekat center yang dapat digunakan untuk menempatkan nada-nada setengah lainnya.ABSTRACTEdon Style of Sasando: Organology and Tuning Studies.. Sasando is a traditional musical instrument typical of the island of Rote-NTT. Sasando is basically a family musical instrument so it has a variety of tuning techniques in accordance with the style of play of each family. Today there have been many studies conducted on sasando, but no one has paid particular attention to the sasando tuning technique. This research is a qualitative research that aims to describe the organology and sasando tuning techniques based on Edon's style. The results showed that sasando had nine main parts: (1) koan, (2) sasando head, (3) string screw, (4) bamboo tube, (5) string, (6) senda, (7) haik ( as a resonator in traditional sasando), (8) sasando buttocks; and (9) electric input / output sockets. In connection with tuning, in the Edon style, sasando is tuned using a number of scales, for example the D and A scales or E and B scales, so that they can do modulation. For the left hand, Edon Style uses two soles, namely small soles as the center (melody) and large soles (bass) which are located right in the center in a clockwise direction. For the melody (left hand), Sasando is tuned from the sol note with the half note ie fis and li on the high note, while the composition of the low notes is do, si, li, fis, sol. For rhythm (right hand), Sasando is tuned from the bass in a clockwise direction with the notes do, re, mi, fa, sol, la, si, do until the noodles are high (enter the second octave), and the remaining two strings are tuned for the fis and cis. In addition to these two strings, there are also strings in the melody section near the center that can be used to use the other half notes.Keywords: Sasando; Organology; Tuning Technique; Edon Style
Makna Simbolik Musik Daak Maraaq dan Daak Hudoq dalam Upacara Hudoq Bahau di Samarinda Kalimantan Timur Asril Gunawan
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.v21i2.4462

Abstract

The Symbolical Meaning Daak Maraaq Music and Daak Hudoq of Hudoq Bahau Ritual in Samarinda, East Borneo. The ritual of Hudoq is an annual cultural practice performed by Dayak Bahau people in the city of Samarinda. The performance of this ritual consists of some phases in which every phase of it represents the symbolical meaning closely related to the value of the ritual. Those phases are (1) Lemivaa Lalii’; (2) Hudoq Taharii’; (3) Lemivaa Tasam; (4) Hudoq Kawit; and (5) Hudoq Pakoq.  Daak Maraaq and Daak Hudoq music and Hudoq dance are performed during the ritual. Daak Maraaq and Daak Hudoq are two different kinds of music, both have a different style of performance, stage of performance, and style of music. Due to its complexity, it becomes especially important to analyze the role of the symbolical meaning of music performed in the ritual of Hudoq. This is a qualitative research within an ethnomusicological approach—music within the cultural perspective—which is done through an analytical descriptive method. The theoretical approach used for this case study is symbolic interpretation and music (transcription) analyses. Despite analyzing the symbolical meaning of Daak Maraaq and Daak Hudoq music, this research is done to provide important information about musical analyses—within the ethnomusicological perspective—of that music. According to the data collected, the ritual of Hudoq has an important role in performing the symbolical meaning of the identical value of ritual, social, and existential meaning for the lives of Dayak Bahau people in Samarinda city, East Borneo.

Page 20 of 31 | Total Record : 303

 18   19   20   21   22 

Filter by Year

2008 2025


Reset
Filter By Issues
All Issue Vol 26, No 3 (2025): Desember 2025 Vol 26, No 2 (2025): Agustus 2025 Vol 26, No 1 (2025): April 2025 Vol 25, No 3 (2024): Desember 2024 Vol 25, No 2 (2024): Agustus 2024 Vol 25, No 1 (2024): April 2024 Vol 24, No 3 (2023): December 2023 Vol 24, No 2 (2023): Agustus 2023 Vol 24, No 1 (2023): April 2023 Vol 23, No 3 (2022): Desember 2022 Vol 23, No 2 (2022): Agustus 2022 Vol 23, No 1 (2022): April 2022 Vol 22, No 3 (2021): Desember 2021 Vol 22, No 2 (2021): Agustus 2021 Vol 22, No 1 (2021): April 2021 Vol 21, No 3 (2020): Desember 2020 Vol 21, No 2 (2020): Agustus 2020 Vol 21, No 1 (2020): April 2020 Vol 20, No 3 (2019): Desember 2019 Vol 20, No 2 (2019): Agustus 2019 Vol 20, No 1 (2019): April 2019 Vol 19, No 3 (2018): Desember 2018 Vol 19, No 2 (2018): Agustus 2018 Vol 19, No 1 (2018): April 2018 Vol 18, No 3 (2017): Desember 2017 Vol 18, No 2 (2017): Agustus 2017 Vol 18, No 1 (2017): April 2017 Vol 17, No 3 (2016): Desember, 2016 Vol 17, No 2 (2016): Agustus 2016 Vol 17, No 1 (2016): April 2016 Vol 16, No 3 (2015): Desember 2015 Vol 16, No 2 (2015): Agustus 2015 Vol 16, No 1 (2015): April 2015 Vol 15, No 2 (2014): Desember 2014 Vol 15, No 1 (2014): Juni 2014 Vol 14, No 1 (2013): Juni 2013 Vol 13, No 2 (2012): Desember 2012 Vol 13, No 1 (2012): Juni 2012 Vol 12, No 2 (2011): Desember 2011 Vol 12, No 1 (2011): Juni 2011 Vol 11, No 2 (2010): Desember 2010 Vol 11, No 1 (2010): Juni 2010 Vol 11, No 2 (2010): Desember Vol 10, No 2 (2009): Desember 2009 Vol 10, No 1 (2009): Juni 2009 Vol 9, No 2 (2008): Desember 2008 Vol 9, No 1 (2008): Juni 2008 More Issue