cover
Article Per Year (5 Year)
All
Home Page
OAI Link
Editorial Team
Contact
Reviewer
Google Scholar
Contact Name
Suharto
Contact Email
suharto@mail.unnes.ac.id
Phone
+628122853530
Journal Mail Official
suharto@mail.unnes.ac.id
Editorial Address
Gedung B2 Lt.1 Kampus Sekarang Gunungpati Semarang 50229
Location
Kota semarang,
Jawa tengah
INDONESIA
Harmonia: Journal of Research and Education
Published by Universitas Negeri Semarang
ISSN : 25412426     EISSN : -     DOI : 10.15294
Core Subject : Education, Art,
Arts Education
Harmonia: Journal of Arts Research and Education is published by Departement of Drama, Dance, and Music, Faculty of Language and Arts, Universitas Negeri Semarang in cooperation with Asosiasi Profesi Pendidik Sendratasik Indonesia (AP2SENI)/The Association of Profession for Indonesian Sendratasik Educators, two times a years. The journal has focus: Research, comprises scholarly reports that enhance knowledge regarding art in general, performing art, and art education. This may include articles that report results of quantitative or qualitative research studies.
Arjuna Subject : Seni dan Humaniora - Seni Visual dan Seni Pertunjukan
Articles 1,219 Documents
 101   102   103   104   105 
Lawet dance and ebleg dance: the term analysis towards its movement qualities
Harmonia: Journal of Arts Research and Education Vol 17, No 1 (2017): June 2017
Publisher : Department of Drama, Dance and Music, FBS, Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v17i1.7805

Abstract

This study offers an insight of a research activity which focuses on art analysis, but lies its concern from the perspective of linguistics. This study is aiming at analyzing linguistic data that are related to traditional art activity to obtain further understanding beyond the existence of the art itself. Example of the activity is the linguistic analysis of terms used to label the kinds or qualities of dance movement from Central Java province, in this case are Lawet dance and Ebleg dance. Kebumen, as one of regency in Central Java, is chosen as the research location since it owns rich of typical traditional arts (local), both from the perspective of the art forms as well as the linguistic aspects. This research is analyzed by employing linguistic theory, especially the analysis of morphology and semantic. Implication of linguistic analysis done to the terms is a deep understanding towards the traditional dances being analyzed. It is further resulted in the form of identity affirmation to the traditional arts exist in the society’s environment.
PENGEMASAN BAHAN AJAR TARI TOPENG MALANG PADA MATA KULIAH VOKASI TARI MALANG
Harmonia: Journal of Arts Research and Education Vol 13, No 1 (2013): June 2013
Publisher : Department of Drama, Dance and Music, FBS, Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v13i1.2530

Abstract

Pengemasan bahan ajar adalah mengemas materi menjadi lebih baik, dengan cara menjadikan ringkas. Materi yang dikembangkan terdapat pada mata kuliah Vokasi Tari Malang yaitu salah satu nama mata kuliah di Program Studi Pendidikan Seni Tari-UM yang berisi tentang  materi tari topeng Malang milik Karimun (Alm). Tujuan dari penelitian ini adalah untuk menghasilkan wujud bahan ajar mata kuliah Vokasi Tari Malang dan mengetahui keefektifan bahan ajar setelah diterapkan kepada mahasiswa.Penelitian ini merupakan penelitian pengembangan dan uji keefektifan menggunakan uji-t dengan program SPSS 12. Hasil penelitian ini adalah berupa buku ajar mata kuliah Vokasi Tari Malang yang berisi petunjuk pembelajar, silabus, RPP, materi, rangkuman dan evaluasi yang dilengkapi dengan VCD pembelajaran. Uji coba keefektifan menunjukan hasil bahwa dari segi produk masuk kategori yang sangat baik sehingga layak digunakan. The packaging of teaching material can be done by adapting the available teaching material and repackaging them in a more practical form. The teaching material developed in this study is Tari Topeng Malangan originally created by (the late) Karimun, which is taught as Vokasi Tari Malang subject in Dance Department of Faculty of Art and Languages, Malang State University. The aim of this research and development study is to produce a teaching material for Vokasi Tari Malang subject and also to find out the effectiveness of the material after being applied to students. This research is a developmental research and an effectiveness test by using t-test provided from SPSS 12. The final products of the teaching material is in the form of teaching textbook for Vokasi Tari Malang, which consist of a syllabi, teaching guide, lesson plans, the material for the teaching, the summary of the material, the teaching assessment and also a tutorial VCD. The t-test showed that the teaching material is categorized as a good teaching material to use in teaching.
BARATAYUDA SULUHAN GATUTKACA GUGUR SEBAGAI PAHLAWAN : KAJIAN DARI ASPEK ETIS DAN ESTETIS
Harmonia: Journal of Arts Research and Education Vol 10, No 2 (2010)
Publisher : Department of Drama, Dance and Music, FBS, Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v10i2.58

Abstract

Puppet show is part of Indonesian culture that teaches good conducts. In Javanese puppet world, Mahabarata story has many times been transformed in puppet plays. Baratayuda Suluhan is one of the episodes of great battle between Kurawa against Pandawa in Kurusetra battlefield, in which Gatutkaca plays role as the commander in chief. The show of Baratayuda series took place in Taman Budaya Jawa Tengah of Surakarta on every Friday Kliwon eves, Javanese date, that has been lasting for almost two years. The shows are based on the puppet maters’ (dalang) point of views so that, sometimes, they seem not in the right order and tend to follow the dalangs’ tastes. Suluhan play is often known as the Dead of Gatutkaca. After the death of Bisma, the knights of Kurawa obeyed Darmayuda’s rule no more. The rule was about war ethics. The battle between Kurawa and Pandawa occurred heroically, severely, cruelly and ruthlessly. They fought nights and days. The most important thing for the commander in chief was how to defeat the enemy and how to kill even when they broke the rule of war. They never stopped fighting. Baratayuda Suluhan is performed at night by usingtorch or suluh as the lamp. Gatutkaca died as a hero. There are ethics values that can be generated from the battle of Baratayuda Suluhan as the moral values. All characters dying in the battle have ethics judgments according to the perspective of Javanese supporting puppet show. Kata kunci: pertunjukan wayang, etika , Baratayuda, pahlawan, sanggit
Mandala Pendidikan Seni (The Mandala of Art Education)
Harmonia: Journal of Arts Research and Education Vol 6, No 3 (2005)
Publisher : Department of Drama, Dance and Music, FBS, Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v6i3.808

Abstract

Pendidikan seni memiliki peranan krusial dalam membantu pendewasaan pesertadidik, dalam kerangka The values of Education in the context of Nation and CharacterBuilding'. Pendidikan seni merupakan pendidikan nilai yang berdimensi mental(moral), analisis, dan sistesis sehingga dapat membantu kecerdasan emosional danintelektual, menghargai pluralitas budaya dan alam semesta, menumbuhkan dayaimajinasi, motivasi dan harmonisasi peserta didik dalam menyiasari dan menanggapisetiap fenomena sosial budaya yang muncul ke permukaan. Atas dasar itulah,pendidikan seni mempunyai tujuan seperri halnya tujuan pendidikan umumnya,pengembangan pribadi secara utuh. Perbedaannya di dalam tujuan pendidikan senihal-hal yang berkaitan dengan norma dan sistem nilai tidak bisa diamari secaralangsung (intangible). Gejala rohani dan sistem nilai hanya dapat direfleksikan secarafilosofis, dalam arti dapat ditangkap makna simbolisnya berdasarkan aktualisasi sikapdan perilaku lahiriah. Untuk itu, pendekatan teoreris dan metodologik 'mandala'menjadi strategi pilihan guna memetakan dan mendekonstruksi khasanah pendidikanseni.Kata kunci: pendidikan seni, pendidikan nilai, pengembangan pribadi.
CAMPURSARI: SUATU BENTUK AKULTURASI BUDAYA DALAM MUSIK
Harmonia: Journal of Arts Research and Education Vol 8, No 3 (2007)
Publisher : Department of Drama, Dance and Music, FBS, Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v8i3.775

Abstract

Kebudayaan selalu elastis dan lebih bersifat adaptif, oleh karenanya tidak ada sebahkebudayaan yang mandek kecuali pendukungnya musnah tanpa sisa. Begitu juga musik, selaludan selalu bergerak mengikuti arus pergeseran waktu. Campursari salah satu jawaban akan tidakmandek-nya sebuah kebudayaan khususnya musik tersebut. Musik ini baik dilihat dari segiinstrumentasi maupun musiklitasnya, merupakan musik hasil dari perpaduan beberapa genremusik yang berbeda-beda. Berdasar wujud campursari tersebut nampaknya campursari menarikuntuk dikaji dari sudut pandang Antropologi khususnya pada perubahan kebudayan pada prosesakulturasi. Oleh karena itu penelitian ini mencoba mengkaji campursari berdasar pada sebuahgenre musik yang muncul akibat dari proses akulturasi tersebut.Metode penelitian inimengnakan metode kulitatif, data dikumpulkan dengan teknik wawancara, observasi dandokumentasi. Selanjutnya data dianalisis berdasar analisis kuitatif mengikuti alur Huberman.Hasil penelitian menunjukkan bahwa campursari dapat dikategorikan sebuah genre musik yanglahir akibat dari proses akulturasi pada kategori sinkritisme. Di kategorikan demikian karena,campursari merupakan sebuah genre musik yang terbentuk atau dibangun dari perpaduanbeberapa genre msik yang berbeda latar budayanya baik dilihat dari segi fisik atau instrumentasimaupun dari segi musikalitasnya. Selanjutnya dapat di jelaskan bahwa musik-musik yangberakulturasi membentuk campursari tersebut adalah, Langgam Keroncong, Gamelan Jawabeserta ragam garap yang bersifat kedaerahan, jaipongan dan dangdut.Kata kunci: campursari, akulturasi, sinkritisme
TARI BEDHAYA KRATON SURAKARTA KAJIAN SECARA SIMBOLIK (Bedhaya Kraton Surakartas Dance on Simbolic Perspective)
Harmonia: Journal of Arts Research and Education Vol 4, No 3 (2003)
Publisher : Department of Drama, Dance and Music, FBS, Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v4i3.728

Abstract

Tan   Bedhaya   merupakan   salah   satu   bentuk   budaya   kraton   yang dilatarbelakangi oleh konsep kenegaraan Dewa Raja. Pengembangan budaya kraton pada dasarnya merupakan usaha untuk memperkuat dan mempertinggi kemuliaan guna memperkokoh kekuasaan raja hingga pada keturunannya. Tari Bedhaya   penuh   dengan   simbol­simbol,   terutama   pada   sesaji,   tempat pergelaran,   gerak   tati,  hingga  jumlah  penarinya. Dengan   mendudukkan   tari Bedhaya   sebagai   tarian   keramat   yang   sarat   dengan   makna   simbolis,   maka kepemilikan dan kewenangan raja akan memperkokoh dan mengangkat citra dirinya sebagai sosok yang sakit. Sebagai titisan Dewa yang memiliki daya linuwih.   Tari   Bedhaya   dianggap   memiliki   nilai­nilai   ajaran   hidup   untuk mencapai   kasampurnaning   urip,   5   sekaligus   juga   akan   berarti   bagi   strategi pengembangan   adat   istiadat   dan   budaya   kraton   secara   terintegrasi.   Tari Bedhaya  kemudian  berperan   sebagai   kekuatan   politik,   sistem  pemerintahan dan kenegaraan kraton.Kata Kunci: Tari Bedhaya, Simbolisme, Kraton Surakarta.
The Relation of Kendang and Jaipongan: Functions and Inspirations of Kendang Musicality on Jaipongan’s Journey
Harmonia: Journal of Arts Research and Education Vol 20, No 2 (2020): December 2020
Publisher : Department of Drama, Dance and Music, FBS, Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v20i2.24953

Abstract

This study aims to describe the Kendang relationship, as a traditional Priangan musical instrument, to the Jaipongan performing arts and dance. Kendang, which has a central function in the Jaipongan dance performance, has received less appreciation in West Java arts’ discourse. The Jaipongan dance art focuses on dance movements, although the song (gending) that accompanies the dance movement depends entirely on the Kendang music playing. This study used qualitative research methods. The data collection technique is done through interviews, observation, and document study. Data were analyzed through complete data collection activities and then adjusted the data and literature review, and in the end, described the research data. The results showed that Kendang, as a musical instrument has a relationship and attachment with the creation and development of the Jaipongan dance art. Kendang and the player (pengendang) have a vital function, in contrast to the stereotype that these instruments are only accompaniment to songs/dances in the performing arts. The Kendang instrument is an important part that regulates the tempo and the course of the Jaipongan dance performance. Pengendang, as artists and musicians, contribute greatly in communicating the performance of the performance both with dancers and the audience. Kendang is a source of inspiration for the creation of Jaipongan dance art. During the process of creating the Jaipongan dance, Gugum Gumbira acts as a creator communicating with other artists, both dancers, and pengendang.
Symbolic Meaning of Drama “Perlawanan Diponegoro” Sahid, Nur; Susantina, Sukatmi; Septiawan, Nicko
Harmonia: Journal of Arts Research and Education Vol 16, No 2 (2016): December 2016
Publisher : Department of Drama, Dance and Music, FBS, Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v16i2.7445

Abstract

Study on Drama entitled “Perlawanan Diponegoro” or “Diponegoro Insurrection” by Lephen Purwanto is aiming at deeply digging the semiotic meanings attached to it. This study employed Keir Elam’s theatrical semiotics as the approach, while Krippendorf’s content analysis was implemented as the method of study. Citing from Krippendorf, content analysis is a method that is particularly develop to study symbolical phenomena with a major purpose that is to dig and reveal other examined phenomena, comprising content, meaning, and essential element of a literary work.
PENINGKATAN KEMAMPUAN MENGGAMBAR BEBAS SISWA B1 MELALUI STRATEGI PEMBELAJARAN PEMBERIAN MOTIVASI
Harmonia: Journal of Arts Research and Education Vol 12, No 2 (2012)
Publisher : Department of Drama, Dance and Music, FBS, Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v12i2.2521

Abstract

Tujuan penelitian untuk mengetahui, mengidentifikasi, dan mendeskripsikan strategi pembelajaran ”pemberian motivasi” bercerita/berdialog untuk membangkitkan perhatian dan merangsang lahirnya motif yang dapat dijadikan dasar dalam berkarya; serta strategi pembelajaran ”pemberian motivasi” tiga cara untuk meningkatkan kualitas hasil kemampuan menggambar bebas pada peserta didik. Penelitian tindakan kelas dilakukan dalam 3 siklus. Teknik pengumpulan data dengan observasi partisipasif; wawancara informal secara mendalam terhadap guru; dan kumpulan karya (portofolio kerja) peserta didik. Uji Validitas Data digunakan triangulasi sumber data, triangulasi metode, dan diskusi bersama guru dengan peneliti untuk membahas kemajuan yang telah dicapai. Hasil  penelitian menunjukkan hasil: a). Strategi pembelajaran pemberian motivasi melalui bercerita/berdialog yang dirancang lebih atraktif dan menarik dapat membangkitkan perhatian dan rangsangan lahirnya motif yang dapat dijadikan dasar dalam berkarya (kegiatan menggambar bebas) pada peserta didik. b). Strategi pembelajaran ”pemberian motivasi” dinyatakan dapat meningkatkan penguasaan peserta didik akan teknik, bahan/alat, dan mengenalkan warna dalam kegiatan menggambar bebas, serta meningkatkan kualitas hasil kemampuan menggambar bebas peserta didik. The goals of this research are to find out, identify, and describe learning strategy of “motivation rewarding” in retelling/making dialogs to evoke students’ attention and stimulate their motives for drawing; and to use three ways of “motivation rewarding” to develop their aptitude in a free drawing. The action research was conducted in three cycles. Techniques of collecting data were implemented by participatory observation; a thorough informal interview with teachers; and students’ portofolio. Data validity test used data source triangulation, method triangulation, and discussion with teachers and researchers to evaluate the achieved progress. The findings show: (a) Learning strategy of motivation rewarding through a more attractively designed retelling/making dialogs could evoke students’ attention and stimulate their motives to make free drawings; (b) Learning strategy of motivation rewarding could improve students’ mastery of techniques, materials/tools, and colors in free drawing activity, and enhance the quality of their free drawing aptitude.
DANGDUT DAN EKSPLOITASI SEKS PEREMPUAN (Dangdut and Woman Sex Exploitation)
Harmonia: Journal of Arts Research and Education Vol 3, No 2 (2002)
Publisher : Department of Drama, Dance and Music, FBS, Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v3i2.688

Abstract

Musik dangdut, perempuan, dan seks kiranya merupakan bayangan kesatuan yang sulit untuk dipisahkan saat ini, terutama bagi para penggemamya. Gambaran demikian muncul karena hamper pada setel pertunjukan musik dangdut, para penyanyi dangdut perempuan tampil  dengan pakaian seksi dan goyang erotis yang demikian menghanyutkan perasaan penikmatnya. Namun demikian, nampaknya penampilan yang demikian tidak terjadi dengan sendirinya, melainkan merupakan hal yang diusahakan oleh beberapa pihak. Tulisan ini mencoba mengupas beberapa hal yang menurut penulis merupakan penyebab terjadinya eksploitasi sek perempuan dalam pertunjukan musik dangdut dengan menggunakan pendekatan estetika feminisme.    Kata kunci: Musik Dangdut, Seks Perempuan, Eksploitasi

Page 103 of 122 | Total Record : 1219

 101   102   103   104   105 

Filter by Year

2000 2024


Reset
Filter By Issues
All Issue Vol 24, No 1 (2024): June 2024 Vol 23, No 2 (2023): December 2023 Vol 23, No 1 (2023): June 2023 Vol 22, No 2 (2022): December 2022 Vol 22, No 1 (2022): June 2022 Vol 21, No 2 (2021): December 2021 Vol 21, No 1 (2021): June 2021 Vol 20, No 2 (2020): December 2020 Vol 20, No 1 (2020): June 2020 Vol 19, No 2 (2019): December 2019 Vol 19, No 1 (2019): June 2019 Vol 18, No 2 (2018): December 2018 Vol 18, No 1 (2018): June 2018 Vol 17, No 2 (2017): December 2017 Vol 17, No 1 (2017): June 2017 Vol 16, No 2 (2016): December 2016 Vol 16, No 2 (2016): (Nationally Accredited, December 2016) Vol 16, No 1 (2016): June 2016 Vol 16, No 1 (2016): (Nationally Accredited, June 2016) Vol 15, No 2 (2015): December 2015 Vol 15, No 2 (2015): (EBSCO, DOAJ & DOI Indexed, December 2015) Vol 15, No 1 (2015): June 2015 Vol 15, No 1 (2015): (EBSCO, DOAJ & DOI Indexed, June 2015) Vol 14, No 2 (2014): December 2014 Vol 14, No 2 (2014): (EBSCO, DOAJ & DOI Indexed, December 2014) Vol 14, No 1 (2014): June 2014 Vol 14, No 1 (2014): (DOI & DOAJ Indexed, June 2014) Vol 13, No 2 (2013): (DOI & DOAJ Indexed, December 2013) Vol 13, No 2 (2013): December 2013 Vol 13, No 1 (2013): June 2013 Vol 13, No 1 (2013): (DOI & DOAJ Indexed, June 2013) Vol 12, No 2 (2012) Vol 12, No 2 (2012) Vol 12, No 1 (2012) Vol 12, No 1 (2012) Vol 11, No 2 (2011) Vol 11, No 2 (2011) Vol 11, No 1 (2011) Vol 11, No 1 (2011) Vol 10, No 2 (2010) Vol 10, No 2 (2010) Vol 10, No 1 (2010) Vol 10, No 1 (2010) Vol 9, No 2 (2009) Vol 9, No 2 (2009) Vol 9, No 1 (2009) Vol 9, No 1 (2009) Vol 8, No 3 (2007) Vol 8, No 3 (2007) Vol 8, No 2 (2007) Vol 8, No 2 (2007) Vol 8, No 1 (2007) Vol 8, No 1 (2007) Vol 7, No 3 (2006) Vol 7, No 3 (2006) Vol 7, No 2 (2006) Vol 7, No 2 (2006) Vol 7, No 1 (2006) Vol 7, No 1 (2006) Vol 6, No 3 (2005) Vol 6, No 3 (2005) Vol 6, No 2 (2005) Vol 6, No 2 (2005) Vol 5, No 3 (2004) Vol 5, No 3 (2004) Vol 5, No 1 (2004) Vol 5, No 1 (2004) Vol 4, No 3 (2003) Vol 4, No 3 (2003) Vol 4, No 2 (2003) Vol 4, No 2 (2003) Vol 4, No 1 (2003) Vol 4, No 1 (2003) Vol 3, No 2 (2002) Vol 3, No 2 (2002) Vol 2, No 3 (2001) Vol 2, No 3 (2001) Vol 2, No 2 (2001) Vol 2, No 2 (2001) Vol 1, No 2 (2000) Vol 1, No 2 (2000) Vol 1, No 1 (2000) Vol 1, No 1 (2000) More Issue