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Saraswati
Published by Institut Seni Indonesia Yogyakarta
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Core Subject : Education,
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Articles 696 Documents
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ANALISIS TAGANING DALAM TRADISI MUSIK GONDANG SABANGUNAN BATAK TOBA LIMBONG ROSLINA
Saraswati Jurnal Mahasiswa Seni Musik
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/srs.v0i0.297

Abstract

The analysis of the instrument taganing in the traditions of music gondang sabangunan Batak Toba is an traditional instrument from the tribe of Batak Toba research, played in an instrumental music ensemble, that is existing in the midst life of the Batak Toba people namely is gondang sabangunan. This research used a descriptive qualitative research method with structural approach, functional approach and musicologist approach. Taganing is a traditional musical instrument derived from the Batak Toba, a five-pitched drum, one-sided and played by hammered or beaten. Taganing is one of the instruments in the ensemble gondang sabangunan, played together with other instruments like sarune bolon, gordang bolon, ogung and hesek. In the showing gondang sabangunan ensemble, taganing have highly diverse functions and the very important role the implementation of a musical performance gondang in the middle of the Batak Toba. These functions we can see and understand well with the conceptually, a musicologist, and specifically. Through all three of the above than functions taganing in the performance gondang sabangunan is as a means of communication, as a leader, decisive tempo, play the melody, play rhythmic variables, show virtuositas to add to the aesthetic against appearance gondang itself and the people who heard and continue to play at the beginning of the gondang performance to wait for the introduction of sarune bolon completed, so that impression of performances musical gondang not stopped. Keywords: taganing, gondang sabangunan, function.
Aplikasi Reharmonisasi lagu Silent Night dan Joy To The World untuk Pembelajaran Piano bagi Remaja di Gereja Pantekosta Hagios Family Yogyakarta SISKA EUNIKE BUTAR-BUTAR
Saraswati Jurnal Mahasiswa Seni Musik
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/srs.v0i0.298

Abstract

Reharmonization Application of Silent Night dan Joy To The World in Piano Learning for the accompanist of the youth worship music in the Pentecostal Church of Hagios Family Yogyakarta. The harmony elements application through the songs: Joy to the Lord and Silent Night become a breakthrough in a piano learning for the accompanist of the youth worship music in the Pentecostal Church of Hagios Family Yogyakarta. Both songs have been reharmonizationed for Christmas and before Christmas, so it becomes very familiar in the ears of Christians worship music accompaniment especially the youth in the church. It is very effective to improve the harmonization ability because many of the harmony processing that more progressive such as diminished chords, augmented chords, chord substitutions, slash chords, chord suspension, extension chords and addition chords applied in these songs. Through the learning of piano, youth can be familiar in knowing the term of chords and its progression that can be applied in songs of worship. In addition, it makes the song more varied, not monotonous and provides different shades. Key words: Reharmonization, learning
EKSISTENSI PAGUYUBAN ANGKLUNG MOTEKAR DI MALIOBORO YOGYAKARTA HANIFAH NUR MEHTA
Saraswati Jurnal Mahasiswa Seni Musik
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/srs.v0i0.299

Abstract

Angklung motekar community has formed at the beginning of 2005 until now. The members angklung motekar community the majority come from Cilacap. Angklung motekar community exist its existency from beginning until now its with show work profesionality, creativity, backed up with human resources who have ability in his position and has unique characteristic to carries on “dangdut koplo” song at its performance. This community makes a song with simple arransement, because they have learned a music otodidac. Angklung motekar community always exists its unique characteristic of music and its performance on the stage are the evidence belong angklung motekar community.   Keywords : Existency, Creativity, Arransement.
KEGIATAN KELOMPOK MUSIK PENGIRING GEREJA KRISTEN PROTESTAN SIMALUNGUN YOGYAKARTA JOST DKLAR SARAGIH
Saraswati Jurnal Mahasiswa Seni Musik
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/srs.v0i0.300

Abstract

Accompaniment Music Group Activities of Gereja Kristen ProtestanSimalungun, firstly been implemented with the simple music instruments, that isusing by keyboard instrument. This activities in the sense of need to increase forcomplicated with the other instrument so that produce ensemble of liturgy musicaccompaniment. This research using by qualitative method, musicologist. Thisresearch considered creative and effective because the players able toaccompaniment with the songs very well, and congregations find it in worship.Keywords: Music of Church, Congregations, Accompaniment Music Group.
PENERAPAN TANGGA NADA MINOR MELODIK DALAM IMPROVISASI GITAR JAZZ Dias Agusta
Saraswati Jurnal Mahasiswa Seni Musik
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/srs.v0i0.301

Abstract

ABSTRACT The Application of Melodic Minor Scale in Jazz Guitar Improvisation. Nowadays, guitar is one of important instruments in jazz music. Guitar can have a role as a melody carrier as well as a harmony carrier by its chord. In jazz music, improvisation is an important aspect that have to be learned and played. Player have to understand common techniques that played in a jazz improvisation such as variate melody, play chord tones, color tones, arpeggio, neighboring tones, etc. In jazz music sphere, improvisation using melodic minor scale is a uniqueness. This scale is very well played on dominant chord for creating altered dominant sounds and it also can be played on other chord such as major chord, minor, half-diminished, and diminished. Key words: Jazz, improvisation, guitar, melodic minor scale
Teknik Double Tounging dalam Sonata for Flute and Piano Karya Francis Poulenc Mr. MEI ARTANTO , SINGGIH SANJAYA, ERITA ROHANA SITORUS
Saraswati Jurnal Mahasiswa Seni Musik
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/srs.v0i0.302

Abstract

Double tounging is one of playing techniques on the flute which emphasizes on the use of a double tongue which have meaning movement of the tongue interchangeably between the front and back of the tongue. Setting the tongue movement which stable and orderly between the front and back of the tongue when blowing the flute be a key principal to produce a good quality of double tounging in producing sound. This technique is a technique commonly used in the flute especially in playing staccato articulation that fast-paced so as a flute player with a standard skilled of the intermediate level should be able to lord those techniques. Not a bit of repertoire can apply double tounging in play with it, such as the Sonata for flute and piano works of Francis Poulenc. In these works there are parts using the technique double tounging in play when mastering single tonguing have segregated to the maximum speed of the tongue movement. With patience, accuracy, use a good method and practicing regularly and effective be the primary key in mastering technique of double tounging correctly and well. Key words : Double tounging technique, sonata, Francis Poulenc.
Teknik Permainan Cello Dalam Langgam Jawa Yen Ing Tawang Ono Lintang Septia Marga Riasetyani
Saraswati Jurnal Mahasiswa Seni Musik
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/srs.v0i0.303

Abstract

Java style is one type of music in Indonesia, especially in Java and a national cultural asset. Java style has characteristics similar to keroncong, among others : the number of bars, shapes, and phrases of songs. Differences with the Java style for keroncong scales used and the tecnique of playing the instrument. In terms of playing, playing cello of Java style is different with playing keroncong cello rendition. Cello playing techniques in the style of Java imitating musical instrument kendhang on the music of Java. In this paper, the writer will attempt to write patterns play cello instrument contained in the Java style song : Yen Ing Tawang Ono Lintang. The method used is qualitative. Reference sources used to obtain the data is with literature, analyzing audio recordings and video playing cello, and conducted interviews on a resource that practitiones keroncong cello. Keywords : Java style, cello playing tecniques, song yen ing tawang ono lintang.
GARAP GENDING-GENDING TRADISI PENGAWE,JANGGA KUSUMA, GANDRUNG MANIS DAN GLEBAG Mr. Sutarta
Saraswati Jurnal Mahasiswa Seni Karawitan
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/srs.v0i0.304

Abstract

Pada umumnya di dalam karawitan terdapat dua macam garap yaitu, garap lirihan dan garap soran. Garap lirihan adalah gending yang lebih mengedapankan instrumen “ngajeng” atau depan, garap soran yaitu gending yang disajikan dengan volume sero/keras yang lebih menonjolkan garap instrumen balungan dan bonang. Penggarapan dan penulisan ini merupakan salah satu upaya untuk menggali dan melestarikan gending-gending gaya Yogyakarta. Gending Pengawe dengan garap soran, Jangga Kusuma garap lirihan, Gandrung manis digunakan untuk iringan bedaya Gandrung Manis dan Glebag difungsikan sebagai patalon pergelaran wayang kulit gaya Yogyakarta. Kata kunci: garap, gending, tradisi
TEKNIK TABUHAN INSTRUMEN SLENTEM DALAM PENYAJIAN KARAWITAN GAYA NGAYOGYAKARTA Mrs. WININGRUM
Saraswati Jurnal Mahasiswa Seni Karawitan
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/srs.v0i0.305

Abstract

“Teknik Tabuhan Instrumen Slentem dalam Penyajian Karawitan Gaya Yogyakarta” berisi tentang bagaimana teknik atau cara menabuh instrumen slentem dan unsur lain yang berpengaruh terhadap teknik tabuhan dalam sajian karawitan gaya Yogyakarta. Penelitian ini berbentuk deskriptif analisis, dengan menggunakan pendekatan musikologis. Teknik tabuhan instrumen slentem dalam karawitan gaya Yogyakarta memiliki beberapa macam, yaitu teknik nggemaki atau ngenyut, mbandhul dan nibani. Tabuhan-tabuhan tersebut masing-masing memiliki unsur yang saling berkaitan dengan irama, jenis balungan, dan pola tabuhan demung imbal, saron pancer, dan peking miraga. Adapun pengaruh musikal teknik tabuhan slentem yaitu mengisi kekosongan di sela tabuhan balungan dan sebagai penghias lagu. Kata kunci: Instrumen slentem, teknik tabuhan, karawitan.
Aplikasi Teknik Tabuhan Imbal Saron Ricik Gaya Yogyakata MUHAMMAD NUR HANAFI
Saraswati Jurnal Mahasiswa Seni Karawitan
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/srs.v0i0.306

Abstract

Imbal saron dalam gending gaya Yogyakarta dibagi menjadi dua jenis yaitu imbal kecegan dan imbal kinthilan. Imbal kecegan diaplikasikan pada gending yang digarap dengan kendang gembyakan, bonang mipil dan gembyang. Meskipun demikian ada gending yang garap kendangan gembyakan dan bonangan mipil atau nggembyang namun garap saron tidak imbal yaitu pada gending Jangkung Kuning laras pelog patet barang dan bentuk ketawang pada garap rumpakan. Bila garap kendang kebaran atau gembyakan dan bonang mipil atau gembyang maka saron ricik ditabuh imbal kecegan pada bentuk playon untuk sajian klenengan, iringan kethoprak dan iringan tari. Imbal kinthilan diaplikasikan pada bentuk ladrang irama satu (tanggung) kendang gembyakan dan bonang imbal, bentuk playon pada iringan pakeliran. Keyword: imbal, ricik, kecegan

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