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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 306 Documents
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The Role of Musical Frequency Differences in Shaping Listeners’ Brainwave Responses Djohan, Djohan; Wardani, Indra Kusuma; Legowo, Adityo; Firmansyah, Ahmad Insanu; Sittiprapaporn, Phakkarawat
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 Layan, Septina Rosalina; Litaay, Darlane; Kanem, Veronika; Pahun, Theodora M.
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 Chuangprakhon, Sayam; Liu, Qianqian; Lin, You; Seeyo, Warakorn; Dong, Shujia
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 Nugroho, Septian Cipto; Wadiyo, Wadiyo; Sinaga, Syahrul Syah; Widna, Maria Angelita
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 Kdyrova, Inesh; Dossanova, Alma; Duiyessinova, Dilya; Shaikenova, Zhanar
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.

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