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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 311 Documents
 28   29   30   31   32 
The Role of Musical Frequency Differences in Shaping Listeners’ Brainwave Responses Djohan Djohan; Indra Kusuma Wardani; Adityo Legowo; Ahmad Insanu Firmansyah; Phakkarawat Sittiprapaporn
Resital: Jurnal Seni Pertunjukan Vol 26, No 3 (2025): Desember 2025
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v26i3.17472

Abstract

Music-based interventions have been widely explored as non-invasive approaches to emotional regulation and anxiety reduction. Within this context, alternative tuning frequencies—particularly 432 Hz and 528 Hz—are frequently used in therapeutic and wellness practices and are often claimed to exert distinct psychophysiological effects. However, empirical evidence supporting differential neural responses to these frequencies remains limited, and existing claims are rarely grounded in direct measurements of brain activity. This study aimed to empirically examine whether music tuned to 432 Hz and 528 Hz produces differential effects on neural oscillatory activity, as measured by brainwave patterns, with particular attention to indicators associated with relaxation and meditative states. A quantitative repeated-measures design was implemented. Ten undergraduate music education students (aged 19–21 years) from the Indonesian Institute of the Arts (ISI) Yogyakarta participated. Each participant listened to the same musical composition presented in two tuning conditions (432 Hz and 528 Hz) in counterbalanced order. Neural activity was recorded using a single-channel EEG device (Neurosky MindWave), which provides spectral estimates of canonical brainwave bands. Delta-band amplitude was selected a priori as the primary outcome measure. Differences between tuning conditions were analyzed using paired-sample t-tests, supplemented by bootstrapping to address the small sample size. Both tuning conditions elicited increased delta-band dominance during music listening. However, no statistically significant difference in delta-band amplitude was observed between the 432 Hz and 528 Hz conditions (t(9) = −1.29, p = 0.229). Bootstrapped confidence intervals corroborated the absence of a reliable frequency-dependent effect. Under controlled within-subject conditions and using single-channel EEG-derived spectral estimates, no evidence was found for differential modulation of delta-band activity between music tuned to 432 Hz and 528 Hz. The results suggest that neural responses are more strongly driven by general musical engagement than by tuning frequency per se. Methodologically, the study highlights both the utility and limitations of low-density EEG for probing music-related neural oscillations and supports the need for future work employing higher spatial resolution EEG, baseline-corrected spectral analyses, and larger samples to test frequency-specific hypotheses with greater sensitivity.
Representation of Identity and Politics in the Song "Ojo Dibandingke" at the 77th Indonesian Independence Day State Ceremony at the State Palace Yulaeliah, Ela; Saepudin, Asep; Sukotjo, Sukotjo; Cuenza, Yves P; Ulhage, Ahza Al Amal
Resital: Jurnal Seni Pertunjukan Vol 26, No 2 (2025): Agustus 2025
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v26i2.17563

Abstract

The purpose of this research is to analyze the representation of identity and political image in the song "Ojo Dibandingke" during the 77th Indonesian Independence Day commemoration in 2022 at the State Palace. The song "Ojo Dibandingke" is a popular dangdut koplo song from 2022. The song was created by Abah Lala, an artist from Banyuwangi. Hall's (1977) representation theory, particularly the constructionist approach and the encoding–decoding model, is used to read how the meaning of the lyrics is produced by the creator (encoding) and interpreted by the users (decoding). A qualitative method with a case study approach was conducted to gather data through webography, documentation, literature review, interviews, and observation. Several interesting points regarding the presentation of the song "Ojo Dibandingke" include: the song "Ojo Dibandingke" is sung by a child who is still underage, dangdut koplo music is not typically performed at state events, and there are altered lyrics that praise the president's name. This research indicates that the use of the song "Ojo Dibandingke" in the 77th Independence Day celebration at the State Palace was not merely an aesthetic choice, but a cultural representation practice laden with political and symbolic meaning. The presence of this song was not just an aesthetic presentation, but an arena for negotiating cultural and political identity in public space.
The Musical Identity, Women's Struggles, and Ecological Knowledge in the Samanim’s Oral Opera Septina Rosalina Layan; Darlane Litaay; Veronika Kanem; Theodora M. Pahun
Resital: Jurnal Seni Pertunjukan Vol 26, No 3 (2025): Desember 2025
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v26i3.16176

Abstract

Samanim’s oral opera is a programmatic musical composition designed to embody the cultural identity of Malind, highlighting the challenges faced by women and the rich local ecological knowledge, all conveyed through the medium of performing arts. This research seeks to uncover, express, and revitalize Malind local wisdom, often marginalized in dominant narratives of development and modernity. In this context, Samanim’s oral opera serves as a form of artistic expression and a vital tool for challenging established knowledge systems, all while elevating Indigenous perspectives in the broader discussion. Rooted in the principles of decoloniality, local feminism, and Indigenous ecology, this work emphasizes the vital role of women as key participants and guardians of values, knowledge, and the continuity of traditions across generations. This study utilizes practice-led research, a method selected for its ability to foster knowledge creation through creative practice, which in turn provides valuable insights via aesthetic experiences and thoughtful artistic processes. This analysis delves into three important areas: the musical and cultural identity of the Malind people, the vital roles women play in preserving and sharing knowledge, and the ecological values represented by Samanim as a central figure. The findings show that the Samanim’s oral opera plays a vital role in shaping the collective memory of the Malind community by how it engages with musical elements, cultural narratives, and representations of women. This work highlights the vital contributions of women in both cultural and ecological stewardship, while addressing pressing contemporary challenges like environmental degradation, social marginalization, and the impact of capitalism on Indigenous ways of life. In the end, Samanim’s oral opera operates as a medium through which cultural values and political reflection, showcasing how art can inspire resistance, enhance critical awareness, and contribute to sustainable thinking.
Evolving Trends of Chinese Folk Music and Performing Arts Management in the Digital Age: A Bibliometric Analysis of Scopus-Indexed Articles Published between 2013 and 2024 Sayam Chuangprakhon; Qianqian Liu; You Lin; Warakorn Seeyo; Shujia Dong
Resital: Jurnal Seni Pertunjukan Vol 26, No 3 (2025): Desember 2025
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v26i3.17607

Abstract

This bibliometric analysis outlines relevant studies concerning Chinese folk music and performing arts management in the digital era, grounded in English-language publications indexed in the Scopus database between 2013 and 2024. This period was selected because English-language articles regarding digital approaches to Chinese folk music began to appear consistently during this time and reached a sufficient volume for a systematic bibliometric analysis. This analysis aims to provide insights into the intellectual landscape, the development of various themes, and the digital impact on the management of culture, artistic management, and the preservation of culture. Under the PRISMA protocol, 39 research articles were examined in the Scopus peer-reviewed database. The dataset was limited to English-language journal articles and conference papers that did not include publications from Chinese-language databases, which define the scopes and boundaries of the analysis. Each of the outputs was analyzed using bibliometric mapping, and quantitative publication trends and patterns concerning institutions and authors were complemented with qualitative thematic analysis, resulting in five thematic clusters. There is a noticeable increase in research results after 2020, aligning with digital cultural policy development in China and the growing use of online platforms for cultural dissemination. Given the relatively small dataset of 39 publications, findings should be interpreted as a focused analytical snapshot rather than a comprehensive representation of all articles on Chinese folk music. The results indicate a shift from ethnographic preservation toward the integration of digital technology to enhance audience engagement, interdisciplinary collaboration, and educational practice. The study underlines how digital integration reshapes the management of Chinese folk music by positioning technology as a tool for both cultural preservation and a medium of creative expression.
The Performance of the Shofar: Musical Liturgical Practice in Contemporary Christian Worship Septian Cipto Nugroho; Wadiyo Wadiyo; Syahrul Syah Sinaga; Maria Angelita Widna
Resital: Jurnal Seni Pertunjukan Vol 26, No 3 (2025): Desember 2025
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v26i3.15449

Abstract

This study addresses the need to enhance theological and musical literacy in contemporary Christian worship, where the Shofar is often used without a clear understanding of its sacred sound structure. The Shofar, rooted in Torah and Talmudic traditions, embodies symbolic and acoustic meanings that have been reinterpreted in Christian liturgical contexts. By examining this conceptual gap, the research positions the Shofar as a symbol of resurgent church music whose theological and musical depth has frequently been overlooked. Using a liturgical studies framework that integrates theology and musicology, this qualitative case study was conducted among pastors, worship leaders, musicians, and Shofar players across five charismatic and Pentecostal churches in Java, Indonesia. Data were collected through interviews, participant observation, and document analysis, and analyzed using content analysis and the Miles, Huberman, and Saldana interactive model. Findings indicate that most practitioners emphasize the Shofar’s symbolic and emotional appeal while neglecting its tonal codes: Tekiah, Shevarim, Teru’ah, and Tekiah Gedolah. The study concludes by emphasizing the importance of restoring interpretive depth and theological discernment through structured liturgical understanding, ensuring that sacred sound continues to serve as a coherent medium of worship, theology, and musical formation.
Intercultural Synthesis of Ethnic Elements in Contemporary Vocal Practice: A Musicological Study with Statical Validation Inesh Kdyrova; Alma Dossanova; Dilya Duiyessinova; Zhanar Shaikenova
Resital: Jurnal Seni Pertunjukan Vol 26, No 3 (2025): Desember 2025
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v26i3.17664

Abstract

Contemporary vocal studies have not sufficiently developed quantitative models that combine the structural analysis of Eastern and Western musical elements with the measurement of their perception within a single analytical framework. Existing work mostly focuses either on describing stylistic characteristics or on cultural interpretations of hybridity, without offering formalized tools for comparing intonational, modal, and rhythmic parameters across traditions and assessing their impact on listening judgments. The purpose of the study was to empirically identify structural indicators of the synthesis of Eastern and Western vocal elements and to test their relationship with assessments of harmony, authenticity, and emotional expressiveness. For this purpose, a corpus of 200 vocal compositions from different regions was formed. The frequency of intonation, harmony, and rhythmic characteristics was recorded using automated spectral analysis in Sonic Visualizer. Groups were compared using Fisher's F-test and Student's t-test; additionally, standardized effect sizes (Cohen's d, η²) and 95% confidence intervals were calculated. The perceptual component of the study included 48 students in the vocal specialization who evaluated a selection of pieces on a 10-point scale according to three criteria: harmony of synthesis, preservation of authentic features, and emotional expressiveness. Harmony was operationalized as the average integral value of these three indicators. The highest scores were given to pieces with a balanced combination of modal variability and functional harmony (M = 9.8; SD = 0.6), and the difference between integrative and asymmetric synthesis models was statistically significant (t = 2.14; p < 0.05; d = 0.61). The analysis of the structural data showed that Western samples are characterized by the dominance of functional tonality and articulatory clarity (W = 0.83; W = 0.85). At the same time, the Eastern samples are characterized by microtonality and melismatic ornamentation (W = 0.80; W = 0.81). The obtained results demonstrate a moderate but stable relationship between the structural characteristics of vocal material and its perceptual evaluation. The proposed approach provides a formalized toolkit for the study of transcultural vocal hybridity. It can be used in further comparative musicological and pedagogical studies.
A Mixed Method Content Analysis of Kejhung Madura on Digital Platforms: Cultural Identity through Oral Music Performance Rully Aprilia Zandra; Kusubakti andajani; Robby Hidajat; Adzrool Idzwan Ismail; Hengki Tri Hidayatullah
Resital: Jurnal Seni Pertunjukan Vol 26, No 3 (2025): Desember 2025
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v26i3.2695

Abstract

This study investigates the representation and preservation of Kejhung Madura, a traditional oral vocal art from Indonesia, within digital media ecosystems. Using a mixed-method content analysis integrating quantitative and qualitative approaches, this research analyzed 119 videos featuring Kejhung Madura across YouTube, TikTok, Facebook, and YouTube Shorts. Quantitative data, such as views, likes, comments, and shares were statistically examined to evaluate audience engagement, while qualitative thematic analysis explored videographic characteristics including duration, lighting, camera movement, and expressive performance. Results show that TikTok generates the highest visibility and engagement, reflecting the adaptability of Kejhung within short-form, algorithm-driven platforms. In contrast, YouTube and Facebook function as digital archives, hosting long-form documentation that maintains cultural integrity. Most videos emphasize individual expression, close-up framing, and natural lighting, indicating a shift from collective performance toward personalized digital reinterpretation. The findings highlight that digital media not only archives but also recontextualizes traditional music into participatory, democratized forms of cultural identity. Therefore, strategic hybridization through creative short clips for engagement and longer formats for preservation can sustain Kejhung Madura’s relevance in the digital era. This study contributes to ethnomusicology and digital heritage studies by demonstrating how oral performance traditions can evolve within global digital culture while retaining their local authenticity.
Musical Characteristics of Tembang Dolanan Tamansiswa: A Quasi-Diatonic Approach in the Character Education Context Heni Kusumawati; Ambar Fidianingsih; Ridwan Maulana; Esti Swatika Sari
Resital: Jurnal Seni Pertunjukan Vol 26, No 3 (2025): Desember 2025
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v26i3.15110

Abstract

Tembang dolanan, Javanese children's play songs performed in everyday play and school activities, remains a vital pedagogical repertoire within the Taman Siswa educational tradition in Yogyakarta. This article analyzes the musical structure of tembang dolanan used at SD Taman Muda Ibu Pawiyatan and formulates a quasi- diatonic harmonization model for classroom accompaniment. In this study, quasi- diatonic harmonization is defined as an ethic, classroom-oriented translation layer: melodies derived primarily from sléndro and pélog pitch collections are supported by diatonic-referential sonorities while preserving their original pitch set and melodic contour. Salient melodic tones are therefore accommodated as added tones or suspensions, such as Iadd6, Iadd9, and sus11 sonorities, rather than treated as errors requiring melodic alteration. Using descriptive qualitative design, the study compiled ten songs from Tamansiswa song collections and recorded school performances; six songs that remain in routine teaching practice were then selected for focal analysis. The analysis examined form, meter, motivic processes, pitch and interval tendencies, and chord-melody relationships. The findings show a consistent structural profile: predominantly unary forms, short repetitive phrases, stable simple meters, restricted pitch collections, frequent stepwise motion, and repeated tones. The article contributes an ethnomusicological account of a living school repertoire and offers a replicable intercultural framework for accompanying pentatonic-derived Javanese melodies in diatonic-oriented classroom environments without erasing their melodic identity
Musical Revitalization of Lamalera’s Ritual, Barter, and Lia Asa Usu Poetry Maria Elerina Douk Tunti; Djoko Suhardjanto; Setianingtyas Honggowati; Wahyu Widarjo; Domingos Flaviono Belo Corriera Freitas
Resital: Jurnal Seni Pertunjukan Vol 27, No 1 (2026): April 2026
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v27i1.18316

Abstract

This study explores the interconnection between the Lefa ritual and the barter system in Wulandoni, which together form the foundational pillars of identity and a unique cultural heritage, as reflected in the Lia Asa Usu poetry chants of the Lamalera community in Lembata Regency, East Nusa Tenggara. A balanced relationship between marine life, social order, and spirituality—rooted in ancestral values—actively shapes the Lamalera identity. The Lia Asa Usu poetry serves as an essential means of instilling ecological ethics while guiding the community’s social, economic, and spiritual behavior. Modernization presents significant challenges to the sustainable transmission of Lamalera’s intangible cultural heritage. Therefore, this study aims to analyze the relationships among Lia Asa Usu poetry, cultural identity, and opportunities for revitalization through contemporary art, particularly music. Using a practice-based research approach, this study combines ethnographic rigor with the process of music creation. The Lia Asa Usu poetry is treated as a moral and historical archive, and is then interpreted into a composition that takes its structure from the emotional narratives of the Lamalera community, including the sound of waves and the rhythm of fishermen’s oars. The results demonstrate that the musical transformation of the poetry produces a new form that combines local tetratonic melodies and repetitive rhythmic patterns. This structure builds emotional and spiritual bridges that strengthen intergenerational connections and affirm cultural identity. The study also found a strong connection between the exodus narrative in the poetry, the origins of barter practices in Wulandoni, and Lamalera’s maritime identity. These findings emphasize that music functions not only as an aesthetic expression but also as an essential medium for transmitting core cultural values, ancestral migration history, coastal living ethics, and spiritual connections to the sea. In conclusion, music inspired by Lia Asa Usu effectively preserves tradition while bridging it to the younger generation.
Performing water in Nigeria: Ecocritical (re)negotiations of hydro-aesthetics in Ojo Bakare’s “Ekun Omi” Princewill Chukwuma Abakporo; Ooreofe-kristi T. Faniyi; Ofega Eru; Precious Kufre Udoh; Mary Bosede Aiyetoro
Resital: Jurnal Seni Pertunjukan Vol 26, No 3 (2025): Desember 2025
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v26i3.17717

Abstract

Against mounting concerns over Nigeria’s increasingly vulnerable aqua-terrestrial environment, this study examines the potential of the performing arts, particularly music and theatre, as tools of ecological engagement. It re-evaluates the agency and significance of water as a natural element, a life-sustaining force, and a geographical resource within the context of persistent aquatic degradation. To achieve this, the study analyzes the aesthetics, musical, and dramatic permutations in the production of Ojo Bakare’s Ekun Omi. Drawing on ecocriticism, conceptual metaphor, and the case study approach of the qualitative research method, the study analyses how the performance presents water not only a life support of nature, but also as an active agent that can (and has started to) withstand years of exploitation and extraction in Nigeria. With precise emphasis on lyrics, rhythm, melody, vocal texture, instrumentation, movement, dialogues and characterization in the play, this study investigates how water—both as a metaphor in the play and as a real-world element—has started to renegotiate its essence in ways that now pose a long-term threat to Nigeria's environmental futures. The fusion of theatre and music in "Ekun Omi" offers a multi-layered environmental discourse that aims to dismantle anthropogenic legacies while promoting locally based frameworks for environmental stewardship. Through the explorations of the embodied, musical, and dramaturgical conduits in which water is performed, this study advances the call for improved eco-musicological and eco-theatrical presence in ecological discourse. Finally, the study validates the synergy of music and theatre as powerful tools to push environmental concerns from the domains of knowledge to the domain of feeling, even as it positions "Ekun Omi" as a pungent intervention in Nigeria's politics of ecological repair. The researchers believe that this shift should be the starting point for any significant environmental stewardship initiative in Nigeria.

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