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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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Jazz in Lampung: Community’s Perspective, Social Practices, Cultural Performance, Organization, and Consequences Hidayatullah, Riyan; Irawan, Ricky; Alam, Pandu Watu; Mazlan, Chamil Arkhasa Nikko
Resital: Jurnal Seni Pertunjukan Vol 25, No 2 (2024): Agustus 2024
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v25i2.13664

Abstract

This article attempts to reveal the perspectives of the Lampung jazz community members dealing with organizational issues related to members’ perceptions or administrators. The cause is an extramusical issue that leads to the ulun Lappung (indigenous Lampung people) social characteristics. In general, problems uncommon in the jazz community arise in this communal setting. This article focuses on the Lampung jazz community’s perspective, cultural performances, social practices, and consequences. The data for this study came from immersive fieldwork conducted in Lampung jazz circles between 2017 and 2021. In addition to in-person data collection, field sites and apps were used. The research participants include senior musicians with over 20 years of experience, music scholars, music entrepreneurs, and jazz activists. Each participant has a unique perspective on group organization, jazz culture and knowledge, and socially musical practices. The significance of Lampung’s musical sense of community is discussed.
Integrating Tradition and Technology: Digital Audio Workstation-Based Learning for Traditional Music Preservation Saputra, Dani Nur; Cahyono, Agus; Utomo, Udi; Raharjo, Eko; Nainggolan, Oriana Tio Parahita
Resital: Jurnal Seni Pertunjukan Vol 25, No 2 (2024): Agustus 2024
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v25i2.13913

Abstract

The use of technology into conventional music education offers novel prospects for both preservation and creativity. This study examines the application of Digital Audio Workstations (DAWs) as an educational instrument for instructing and conserving traditional music, specifically within the setting of Desa Cisaat, Subang, West Java. The study included 25 young participants from the hamlet, with the objective of evaluating how DAW-based learning may enhance their involvement with traditional Sundanese music. The study illustrates how DAWs connect old musical traditions with contemporary digital approaches through workshops and instructional activities, allowing kids to engage with traditional music in more innovative and accessible manners. The research conducted used a type of qualitative research with a descriptive approach. The data collection techniques used are through observation, interviews, and literature studies. The analysis carried out adopted from miles and huberman where the process includes data collection, data reduction, data presentation, and conclusion. The results indicate that DAW-based learning cultivates creativity, increases student engagement, and facilitates a profound comprehension of musical legacy among younger generations. This technique facilitates the recording, adaptation, and widespread dissemination of traditional music, thus assuring its preservation in the digital era. The study indicates that the integration of tradition and technology via Digital Audio Workstations (DAWs) signifies a viable avenue for the future of music instruction and preservation, especially in rural regions.
The Phenomenon of Bamboo Music Buskers in Semarang: An Urban Music Perspective Sunarto, Sunarto; Sejati, Irfanda Rizki Harmono; Haryono, Slamet; Susetyo, Bagus
Resital: Jurnal Seni Pertunjukan Vol 25, No 2 (2024): Agustus 2024
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v25i2.13564

Abstract

This study aims to explore the phenomenon of bamboo music buskers in Semarang from an urban music perspective, focusing on their role in the city's cultural landscape and the dynamics of social interactions in public spaces. The methodology used in this study is a qualitative approach with participatory observation techniques, in-depth interviews with buskers, and documentation analysis. Data collection was conducted in several strategic locations in Semarang, such as the town square, markets, and other crowded centers. The results of the study indicate that bamboo music buskers play a significant role in enriching the color of urban music in Semarang. They not only function as street entertainers, but also as cultural agents who introduce and preserve traditional music in a modern context. Bamboo music, with its unique and organic characteristics, attracts the attention of people from various circles and often creates warmer social interactions between buskers and their listeners. In addition, this study found that bamboo music buskers face challenges in the form of social stigma and government regulations that are less supportive of their activities in public spaces. The implications of this study indicate that bamboo music buskers have the potential to be developed as a city cultural asset that can support local tourism and strengthen Semarang's cultural identity. In addition, this study recommends the need for more inclusive policies and support for the sustainability of urban music rooted in local traditions, so that it can create more dynamic and culturally diverse public spaces.
Integrasi Platform Media Sosial Instagram dalam Pertunjukan dan Pembelajaran Musik Gamad di Sendratasik FBS UNP Hakim, Uswatul; Dilfa, Alrizka Hairi; Trinanda, Riri; Hidayat, Hengki Armez
Resital: Jurnal Seni Pertunjukan Vol 25, No 2 (2024): Agustus 2024
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v25i2.13783

Abstract

Penelitian ini bertujuan untuk mendeskripsikan dan menganalisis integrasi pertunjukan musik Gamad ke dalam platform media sosial dan dampaknya terhadap pembelajaran musik Gamad di Jurusan Pendidikan Drama, Tari, dan Musik (Sendratasik), Fakultas Bahasa dan Seni (FBS), Universitas Negeri Padang (UNP). Penelitian ini berfokus pada bagaimana Instagram, sebuah platform digital populer, dimanfaatkan untuk mengajarkan dan menampilkan musik Gamad, mengeksplorasi perannya dalam mentransformasikan pedagogi musik tradisional. Dengan menggunakan pendekatan studi kasus kualitatif, penelitian ini mengkaji strategi yang digunakan oleh para pendidik untuk memasukkan fitur-fitur Instagram—seperti postingan video, reel, dan siaran langsung—ke dalam proses pembelajaran. Temuan ini menyoroti bahwa Instagram memfasilitasi keterlibatan mahasiswa yang lebih besar, menawarkan ruang yang dinamis dan interaktif untuk latihan dan pertunjukan. Selain itu, media digital membantu memperluas audiens musik Gamad, menghubungkan karya mahasiswa ke platform global. Studi ini menyimpulkan bahwa mengintegrasikan media sosial ke dalam pendidikan musik tidak hanya meningkatkan pengalaman belajar tetapi juga mendukung pelestarian dan penyebaran tradisi musik lokal dalam konteks modern.Kata Kunci: Musik Gamad, Pembelajaran, Pewarisan, dan Transmisi Musik Tradisional, Media SosialThis study aims to describe and analyze the integration of Gamad music performances into social media platforms and their impact on Gamad music learning at the Department of Drama, Dance, and Music Education (Sendratasik), Faculty of Languages and Arts (FBS), Universitas Negeri Padang (UNP). The research focuses on how Instagram, a popular digital platform, is utilized to teach and showcase Gamad music, exploring its role in transforming traditional music pedagogy. Using a qualitative case study approach, the study examines the strategies employed by educators to incorporate Instagram features—such as video posts, reels, and live broadcasts—into the learning process. The findings highlight that Instagram facilitates greater student engagement, offering a dynamic and interactive space for both practice and performance. Additionally, the digital medium helps to broaden the audience for Gamad music, connecting students' work to a global platform. The study concludes that integrating social media into music education not only enhances the learning experience but also supports the preservation and dissemination of local musical traditions in a modern context.Keywords: Gamad Music, Learning, Inheritance, and Transmission of Traditional Music, Social Media.
Makna Hadrah dalam Prosesi Baharak pada Masyarakat Negeri Olok Gading Lampung Hidayatulloh, Nofriyan; Arsana, I Nyoman Cau; Haryono, Timbul
Resital: Jurnal Seni Pertunjukan Vol 25, No 2 (2024): Agustus 2024
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v25i2.11904

Abstract

 Hadrah adalah musik yang mengiringi prosesi baharak (prosesi arak-arakan pengantin pada upacara pernikahan). Hadrah sebagai tanda yang berisi pengetahuan dan nilai, terus melahirkan interpretasi dalam mengonstruksi makna. Dengan kata lain, hadrah (sebagai material) bisa dibaca sebagai sebuah peristiwa bahasa atau gejala kebahasaan. Penelitian ini menggunakan metode penelitian kualitatif dengan etnografi sebagai metode pengumpulan data. Analisis tanda menggunakan teori semiotika dari Charles S. Peirce. Hasil penelitian menunjukkan bahwa hadrah bagi masyarakat adat Lampung adalah sesuatu yang tidak dapat dipisahkan dari pandangan masyarakat terhadap dunia natural (aspek sosial) dan supernatural (aspek religius). Hadrah dalam aspek sosial yakni mengatur bagaimana berperilaku berdasarkan norma adat dan norma dalam Islam, sedangkan dalam aspek religius, hadrah adalah upaya manusia dalam mendekatkan diri kepada Allah melalui dzikir. Dengan kata lain, hadrah berisi pandangan hidup masyarakat dalam membentuk perilaku. Hadrah sebagai musik yang mengiringi prosesi baharak dalam gawi adat, memiliki makna bagi masyarakat Negeri Olok Gading sebagai sebuah simbolisasi dari perjalanan hidup manusia. Bahwa perjalanan hidup seorang Lampung harus diikuti oleh perubahan kualitas hidup (terkait pemenuhan kebutuhan lahir dan batin manusia). Hal ini menunjukkan bahwa hadrah sebagai kebudayaan masyarakat Negeri Olok Gading adalah materialisasi dari nilai dan pengetahuan yang mengandung dimensi religius sekaligus dimensi sosial.Kata kunci: Hadrah, religius, sosial, dan maknaHadrah is the music that accompanies the baharak procession (bridal procession at a wedding ceremony). Hadrah as a sign that contains knowledge and values, continues to give birth to interpretations in constructing meaning. In other words, hadrah (as material) can be read as a language event or linguistic symptom. This research uses a qualitative research method with ethnography as the data collection method. Sign analysis uses Charles S. Peirce's pragmatic semiotics theory. The results showed that hadrah for Lampung indigenous people is something that cannot be separated from the community's view of the natural world (social aspect) and supernatural (religious aspect). Hadrah in the social aspect is regulating how to behave based on customary norms and norms in Islam, while in the religious aspect, hadrah is a human effort to get closer to Allah through dhikr. In other words, hadrah contains the community's worldview in shaping behaviour. Hadrah, as the music that accompanies the baharak procession in the traditional gawi, has a meaning for the people of Negeri Olok Gading as a symbolisation of the journey of human life. The life journey of a Lampungese must be followed by changes in the quality of life (related to the fulfilment of human physical and spiritual needs). This shows that hadrah as a culture of the people of Negeri Olok Gading is a materialisation of values and knowledge that contains both religious and social dimensions.Keywords: Hadrah, religious, social, and meaning.Hadrahadalah musik yang mengiringi prosesibaharak(prosesi arak-arakanpengantinpadaupacarapernikahan).Hadrahsebagaitandayangberisipengetahuandannilai,terusmelahirkaninterpretasidalammengonstruksimakna.Dengankatalain,hadrah(sebagaimaterial)bisadibacasebagaisebuahperistiwabahasaataugejala kebahasaan. Penelitian ini menggunakan metode penelitian kualitatif denganetnografisebagaimetodepengumpulandata.AnalisistandamenggunakanteorisemiotikadariCharlesS.Peirce.HasilpenelitianmenunjukkanbahwahadrahbagimasyarakatadatLampungadalahsesuatuyangtidakdapatdipisahkandaripandanganmasyarakatterhadapdunianatural(aspeksosial)dansupernatural(aspekreligius).HadrahdalamaspeksosialyaknimengaturbagaimanaberperilakuberdasarkannormaadatdannormadalamIslam,sedangkandalamaspekreligius,hadrahadalahupayamanusiadalammendekatkandirikepadaAllahmelaluidzikir.Dengankatalain,hadrahberisipandangan
Respons Pesindhen dan Qari’ Terhadap Lantunan Al-Qur’an Langgam Jawa A’yun, Sevi Qurrotu; Maarif, Samsul; Suryati, Suryati; Jati, Galih Pangestu
Resital: Jurnal Seni Pertunjukan Vol 25, No 2 (2024): Agustus 2024
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v25i1.11271

Abstract

Javanese Qur'an chants performed by Yaser Arafat at the State Palace in 2015 during the commemoration of Isra' Mi'raj. The use of Javanese musicals influenced the formation of Javanese cloves in his singing. Javanese cloves as decorations for chanting the Qur'an should be able to make people who listen to it interested. However, in fact it caused controversy. This study aims to determine the Javanese clove formed and the response of a pesindhen and qari'-qari'ah to the chanting of the Javanese Qur'an. The research method used is a qualitative research method with a a musicological approach and case studies. This research has the object to be studied, namely the chanting of QS. Al-Isra' verse 1 and QS. An-Najm verses 1-15. Data collection was carried out by means of desk-based research, interviews, documentation and literature studies which were analyzed musicologically and using the Miles and Huberman model. The results showed that the chanting of the Javanese Qur'an by Yaser Arafat found Javanese cloves in the form of luk. Luk was formed accidentally by adjusting the law of tajweed. Pesindhen's response still appreciates his chants even though only luk was found. However, it does not agree with the use of macapat Pangkur. Similarly, reciters do not approve of using macapat Pangkur in their chants. Meanwhile, the reciter gave a response that did not approve of his chanting because he adhered to the hadith and maqamat of Al-Arabiyyah.
Penciptaan Karya Konserto Grosso Untuk Menunjang Pembelajaran Mata Kuliah Ansambel Gesek Garibaldi, Pipin; Ceri, Danny; Lundito, Farel Jonggi
Resital: Jurnal Seni Pertunjukan Vol 25, No 2 (2024): Agustus 2024
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v25i2.13675

Abstract

Artikel ini ditulis untuk menjelaskan proses penciptaan Konserto Grosso yang disusun penulis sebagai materi pembelajaran ansambel gesek di Jurusan Musik ISI Yogyakarta. Karya konserto ini memuat pembelajaran teknik permainan instrumen gesek, meliputi biola, viola, cello, dan contrabass. Teknik seperti tangga nada mayor, minor, arpeggio, double stop, detache, legato, staccato, dan spiccato disertakan dalam komposisi ini demi membangun fondasi teknik bagi tangan kanan dan tangan kiri seorang instrumentalis. Komposisi ini memiliki satu gerakan  yang terdiri dari bagian cepat dan lambat sebagaimana konserto pada umumnya. Penulis menyoroti bahwa sejumlah besar mahasiswa yang diterima di Jurusan Musik, ISI Yogyakarta belum memiliki kemampuan bermain instrumen gesek yang memadai. Penciptaan karya Konserto Grosso dilakukan guna menjembatani proses pembelajaran ansambel gesek baik dalam dimensi edukatif maupun performatif. Kreasi Konserto Grosso dengan teknik tangan kiri dan kanan ini menjadi alternatif yang menumbuhkan minat belajar dan meningkatkan kompetensi mahasiswa dalam memainkan karya-karya standar instrumen gesek, baik itu konserto, divertimento, sonata, serenade, dan lain-lain. Penelitian ini menggunakan metode kualitatif dengan pendekatan studi kasus. Ada pun tahapan penelitian meliputi; pengumpulan dokumen, observasi, wawancara, penciptaan karya, penerapan karya, dan diseminasi. Demonstrasi atau penerapan uji karya dilakukan di dalam kelas ansambel gesek. Hasil penelitian menunjukan bahwa penciptaan Konserto Grosso menjadi terbatasi karena penulis selaku pencipta hanya mengolah teknik tangga nada dan arpeggio saja sehingga tidak banyak wilayah musikalitas yang dapat dieksplorasi. Di sisi lain, pemakaian teknik tangan kiri dan kanan yang terbatas ini membuat mahasiswa mampu memainkan sebuah karya ansambel dengan nyaman dan kualitas yang cukup baik, meskipun masih belum mampu memainkan sepenuhnya tempo yang dikehendaki.Kata kunci: ansambel gesek; Konserto Grosso; pengembangan teknik This article outlines the compositional process of a concerto grosso created by the author as a pedagogical tool for string ensembles at the Music Department of ISI Yogyakarta. The concerto serves as a comprehensive learning resource, incorporating essential techniques for playing string instruments, including the violin, viola, cello, and contrabass. These techniques encompass major and minor scales, arpeggio, double stops, détaché, legato, staccato, and spiccato, providing a solid foundation for both right and left-hand technique. The composition features a single movement with contrasting fast and slow sections, akin to traditional concerto structures. The author highlights a prevalent challenge among students admitted to the Music Department: a lack of adequate string instrument playing skills. The concerto grosso was composed with the aim of bridging this gap, fostering both educational and performance-based learning experiences within the string ensemble context. By incorporating a variety of left and right-hand techniques, the concerto seeks to stimulate interest in learning and enhance students' ability to perform standard works for string instruments, such as concertos, divertimentos, sonatas, serenades, and more. This study employs a qualitative research methodology, adopting a case study approach. The research process involved document collection, observation, interviews, composition, application, and dissemination. The concerto's effectiveness was evaluated through demonstrations and applications in string ensemble classes. The findings of the study reveal certain limitations in the concerto's scope, as the author primarily focused on scale and arpeggio techniques, restricting the exploration of other musical elements. However, the use of limited left and right-hand techniques enabled students to perform the ensemble work with relative ease and a reasonable level of proficiency. Despite these achievements, the students ultimately faced challenges in maintaining the desired tempo.Keywords: string ensemble, concerto grosso, technique development
Gamelan Reinvented: Cultural Sound Transformation in Membranophone Ensembles of East Java Hidayatullah, Panakajaya; Simatupang, Gabriel Roosmargo Lono Lastoro; Setiawan, Aris; Livera, Kristen Angela
Resital: Jurnal Seni Pertunjukan Vol 25, No 3 (2024): Desember 2024
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v25i3.14537

Abstract

This study explores the phenomenon of pèghâ' in the musical traditions of terbhâng ghendhing and kemplang in Probolinggo and Bondowoso, which emerged as a response to past religious prohibitions on the use of metal gamelan instruments. The research focuses on uncovering the adaptation of metal gamelan music into the membranophone ensembles of terbhâng ghendhing and kemplang from a musicological perspective. Using qualitative approaches and ethnographic methods, data were collected through participant observation, in-depth interviews, and literature review. The findings reveal that elements such as kejhungan, drumming patterns, bonang patterns, and gending structures were preserved, although the shift from metal to membrane caused significant changes. These changes resulted in a playing style that is more repetitive, dynamic, and aligned with the membranophone's characteristics. This study also challenges the conventional view of membranophones as purely rhythmic instruments, demonstrating their capability to perform complex melodic roles in terbhâng ghendhing and kemplang. The process of pèghâ' underscores traditional music as a dynamic entity that continues to evolve through local creativity, creating new musical identities while maintaining its cultural roots.
Bibliometric Analysis of 20 years of Traditional Music Research in Asia Larasati, Yuniar Galuh; Fernando, Henky; Abdullah, Irwan; Harpawati, Tatik; Morin, Leanne
Resital: Jurnal Seni Pertunjukan Vol 25, No 3 (2024): Desember 2024
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v25i3.14983

Abstract

This study aims to explore and evaluate research on traditional music in Asia over the past 20 years based on a Scopus database search. This study adopts a qualitative descriptive approach using bibliometric analysis with VOSviewer software to examine and assess patterns, trends, and developments in studies on traditional music through Scopus-indexed publications. From an analysis of 1,872 documents in the Scopus database, the Asian-European Music Research Journal emerged as the most consistent source publishing studies on traditional music. The subject area of Social Sciences appeared most frequently and was the most commonly used category in studies on traditional music in Asia over the past two decades. However, these studies have remained to fully interpret and respond to the aesthetic and ethical transformations of traditional music in the era of globalization, which still has the potential to raise various issues related to culture, musical instruments, performance styles, and social functions. This study is significant for future research on traditional music, serving as a foundation for scholarly discussions in addressing the factors and implications of aesthetic and ethical transformations in traditional music in the globalized era.
Promoting the Principles of Ecological Ethics, Ecosociology, and Ecomusicology through the Practice of Planting Songs in the Rote Society Pattinaja, Maryon Daniamaputra; Messakh, Merling Tonia Litron Litos Conthes; Alexander, Ferdinant; Ufi, Delsylia T.; Kwon, Kwang-Eun
Resital: Jurnal Seni Pertunjukan Vol 25, No 3 (2024): Desember 2024
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v25i3.14245

Abstract

This study seeks to analyze the planting songs of the Rote society through the lenses of ecological ethics, ecosociology, and ecomusicology. The research method is qualitative ethnography, utilizing semiotic and thematic data analysis tools. From an ecological ethics perspective, the planting song is viewed as a profound expression of reverence for nature as the source of life. Maintaining ecological balance through sustainable agricultural practices reflects reverence and serves as a medium for the spiritual connection among humans, nature, and the divine.  From an ecosociological standpoint, planting songs function as a medium for social communication, encapsulating values of empathy, responsibility, and the ethos of collectivism and solidarity among farmers, widows, and orphans – social groups lacking a stable income and facing economic vulnerability. Planting songs exemplify a significant aspect of ecomusicology, functioning as a means of communication between humans and nature that encapsulates life experiences, collective cultural memory, and impressions of the natural world. A comprehensive grasp of the interplay between culture, environment, and ethical conduct underpins the sustainability of communal existence in the Rote society.

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