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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
 106   107   108   109   110 
Characteristics of Titounis Children Songs: A Study of Songs, Music Instruments and Onomatopoeia
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.v20i2.25539

Abstract

The purpose of the study is to describe an analysis of children’s song characteristics Titounis. This study used a musicological approach to recognize songs’ characteristics. The data collection were document study and, listen and take note. This study used a content analysis technique. The analysis cover three aspects:  (1) songs’ analysis, (2) instruments’ analysis, (3) Onomatopoeia.  The songs that were analyzed were (1) Petit Escargot, (2) Le Roues de l Autobus, (3) Les Chiffres, (4) Un kilometer en Roulant. In the song analysis, the patterns used were general patterns, using fun and cheerful vocals, strong tonal stress, relatively limited variations in tones, slow, fast, and gradual tempo. The delivery style invites singing as well as dialogue or interaction. Then in musical instruments, the melody variations of each instrument form harmonization, the use of non-musical instruments emphasizes the theme of the song and provides the experience of hearing about the environment. The onomatopoeic analysis shows sound vroom (car), pataboum (jumping passengers), bip-bip-bip (serine), suisse-suisse (wiper). The onomatopoeia of Titounis songs serves to strengthen the song’s theme.
Kidungan Jula-juli in East Java: Media of Criticism and Propaganda (From The Japanese Occupation Era to The Reform Order in Indonesia) Setiawan, Aris
Harmonia: Journal of Arts Research and Education Vol 21, No 1 (2021): June 2021
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.v21i1.27116

Abstract

This research aims to determine the historical construction of criticism and propaganda formed in Kidungan Jula-juli performance in each era. Kidungan is a song in the Gending Jula-juli in East Java. The musical text presented in the song seems to be open (blak-blakan [openness]), assertive, and emotionally becomes the power of criticism. Historical issues concerning the function of Kidungan Jula-juli are interesting enough to be known, thus encouraging this study to get a basic and detailed understanding of the historical stages of the role of Kidungan Jula-juli from the Japanese era to the reformation era. This study using a historical approach and emphasizes the problem of music function. The analysis was carried out by looking at the ideas, concepts, and cultural references that accompanied the performance of Kidungan Jula-juli. The results of this study indicate the dynamics of the function of criticism and propaganda in Kidungan Jula-juli. During the Japanese occupation era, Kidungan Jula-juli was very sharp in its role as an instrument of the independence movement; from 1950 to 1965, Kidungan Jula-juli was used by political parties to strengthen political support and propaganda. In the New Order Era, kidungan lost the function of criticism.  The state controlled it for the sake of propaganda and the legitimacy of power.  Kidungan Jula-juli is more open and present on a stage with other performing arts in the era of the reform order.
RAGAM HIAS PADA PENDAPA TERAS CANDI PANATARAN DI BLITAR
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.v12i2.2526

Abstract

Sasaran penelitian ini adalah ragam hias Pendapa Teras di kompleks candi Panataran. Tujuan penelitian ini untuk memahami dan memberikan gambaran menyeluruh mengenai perwujudan ragam hias candi pada Pendapa Teras di dalam kompleks candi Panataran, yang meliputi aspek visual, makna simbolik dan nilai-nilai pendidikan. Penelitian ini menggunakan pendekatan kualitatif, sedangkan teori yang digunakan adalah teori semiotika Pierce, Roland Bathes dan Saussure, untuk memandang ragam hias candi sebagai tanda-tanda yang terbentuk dari unsur-unsur dan prinsip visual yang memiliki makna secara simbolis serta mengandung nilai-nilai pendidikan.  Hasil penelitian ragam hias candi sebagai berikut: (1) Secara visual ragam hias terdiri dari ragam hias ceritera dan non ceritera, dengan objek manusia, tumbuhan, binatang, serta makhluk-makhluk ajaib, (2) Model penggambarannya dekoratif realistis  dan dekoratif imajinatif, (3) Makna simbolis dari ragam hias melalui ragam hias ceritera, bahwa manusia pada dasarnya sedang melakukan perjalanan, menghadapi banyak rintangan, dan bila rintangan dapat diatasi akan mendapatkan kemuliaan. Kemuliaan ternyata bukan dari pangkat, derajat, dan kekayaan tetapi dari keikhlasan dan kasih sayang.  Nilai-nilai pendidikannya adalah manusia tidak boleh sombong, hidup sederhana, ikhlas dan sabar. Subject of this research are variety of decorative on  pendapa terrace of  Panataran temple complex. Purpose this research are to show and give an overview thorough regarding the embodiment fad ornamental temple on pendapa terrace  inside of Panataran temple complex, covering aspects of visual,  symbolic meaning and education values. This study uses a qualitative approach, while the theory used is the theory of semiotics Pierce, Roland bathes and Saussure, to look decorative temple as the signs are formed from the elements and principles of visual that has a symbolic meaning as well as containing the values of education. The results of temple decorative as follows: (1) Visually, the ornament consisting of a decorative stories and non-stories, with the object of people, plants, animals, and magical beings, (2) Model depiction are decorative realistic and decorative imaginative, (3) the meaning of symbolic ornamentation through ornament story, that people are basically traveling, faces many hurdles, and if the hurdles can be overcome to get the glory. Glory was not of rank, degree, and wealth but of sincerity and affection. Education value is that  man must not be arrogant, living a simple, sincere and patient.
PERTUNJUKAN TARI CAMPUR BAWUR DALAM TRADISI SYAWALAN DESA LENCOH SELA BOYOLALI
Harmonia: Journal of Arts Research and Education Vol 10, No 1 (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.v10i1.53

Abstract

Campur bawur dance is one of the folk art that has been born, alive and developing in the society of Cangkol Atas and has been acclaimed to be Lencoh’s. The performance of Campur Bawur dance is a media to express feeling and thoughts of the artist and involvement of the supportive society. The performance of Campur Bawur dance in Lencoh is one of the completion of the syawalan tradition dan village cleaning ceremony. The dance performance is the embodiment of validation or the belief of the Lencoh society in the existance of the power of the spirit of the dead. The spirits as the ancestor of the society, is considered to be able to protect and provide safety for the society. Syawalan tradition is a system of belief of the upcoming hapiness after one month fully fasting. Syawalan tradition is a media to strenghten the bond of friendship. Campur Bawur dance has simple motions and dinamic illustration. In every performance it is illustrated with the blend of Javanese gamelan in slendro harmony, added by other isntruments, suc as: drum, keyboard, adn cymbal. The research on campur Bawur is conducted with textual and contextual aproach. The textual research is to reveal Campur Bawur dance performance as a cultural product. The contextual research is conducted to reveal the background of why the Campur Bawur performance is held, the bevaviour pattern of the supportive society, and to analyze the cause of why the society hold such performance for the entertainment sake. The performance of Campur Bawur dance strengthen special characteristi of syawalan tradition. Kata kunci: campur bawur, tradisi, tari rakyat
LOMBA MUSIK DALAM KONTEKSTUAL APRESIASI UMUM (Music Contest in General Appreciation Context)
Harmonia: Journal of Arts Research and Education Vol 1, No 2 (2000)
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.v1i2.841

Abstract

Musik hidup dalam komunikasi pencipta dan penikmatnya, ia hadirsebagai sebuah bentuk seni dengan medium audio (pendengaran).Keberdayaannya di masyarakat tidak lepas dari suasanakeuniversalannya. Upaya-upaya memahami musik dengan lebih seriuskadang-kadang kurang begitu diperhatikan. Bentuk apresiasi musik yanglebih serius kurang mendapat tempat. Salah satu bentuk apresiasi musiksebenarnya sudah menggejala di masyarakat sejak tahun 70-an ialahlomba musik. Dengan adanya lomba musik diharapkan masyarakat dapatmemahami musik dengan lebih baik. Apresiasi musik denganmenggunakan metode lomba musik bersifat sederhana namun berdayajangkauluas, serta ekonomis.Kata kunci: apresiasi, musik, komponis, pemain, pendengar, media
EKSISTENSI WANITA PENARI DAN PENCIPTA TARI DI KOTA SEMARANG
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.v8i3.770

Abstract

Profesi sebagai pencipta tari dan penari bukan hanya dilakukan oleh kaum pria saja, tetapi juga kaum wanita, baik yang sudah menikah ataupun yang belum menikah. Tujuan penelitian adalah untuk mengetahui, memahami, menjelaskan eksistensi, dan faktor-faktor yang menghambat dan mendorong wanita pencipta tari dan penari dalam seni tari. Penelitian ini menggunakan pendekatan deskriptif kualitatif, dengan fokus penelitian wanita pencipta tari dan penari dalam komunitas seniman di Kota Semarang. Instrumen penelitian adalah peneliti sendiri, teknik pengumpulan data menggunakan observasi, wawancara, dan studi dokumentasi. Teknik analisis data dengan cara mereduksi, mengklarifikasi, mendiskripsi, menyimpulkan dan menginterpretasikan semua informasi secara selektif. Hasil penelitian menunjukkan bahwa dalam kurun waktu 1 tahun terakhir ini, dari 20 orang wanita, 4 orang wanita masih eksis berprofesi sebagai pencipta tari dan penari, dan 7 orang wanita masih eksis berprofesi sebagai penari. Faktor-faktor yang  menghambat adalah (1) rasa deskriminatif, (2) kultur (budaya), (3) keluarga, (4) naluri kewanitaan, (5) wanita pekerja, (6) latar belakang pendidikan, (7) orientasi komersil dalam berkarya, (8) pandangan masyarakat, (9) apresiasi masyarakat yang masih rendah. Faktor-faktor yang mendorong adalah, (1) kesetaraan gender, (2) kultur, (3) keluarga, (4) naluri kewanitaan, (5) latar belakang pendidikan, (6) orientasi komersial dalam berkarya.Kata kunci : eksistensi, wanita penari, wanita pencipta tari, karya tari.
Laesan sebuah Fenomena Kesenian Pesisir : Kajian Interaksi Simbolik antara Pemain dan Penonton (Laesan, a Phenomenon of Beach Arts : A Study of Symbolic Interaction between The Players and Audiences)
Harmonia: Journal of Arts Research and Education Vol 7, No 3 (2006)
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.v7i3.730

Abstract

Laesan adalah salah satu kesenian tradisional kerakyatan masyarakat pasisir desa Bajomulyo, kecamatan Juwana, kabupaten Pati, Jawa Tengah, dengan fenomena trance yang merupakan bagian paling pokok dalam kesenian itu. Masalah dalam penelitin ini adalah (1) bagaimanakah bentuk penyajian kesenian Laesan ? (2) bagaimanakah proses terjadinya interaksi simbolik antara pemain dan penonton? (3) simbol-simbol apakah yang dapat membentuk terjadinya proses interaksi simbolik antara pemain dan penonton? Tujuan penelitian ini adalah untuk mengetahui, memahami dan menjelaskan : (1) bentuk kesenian Laesan, (2) proses terjadinya interaksi simbolik antara pemain dan penonton, (3) simbol-simbol yang ada dan digunakan untuk membentuk interaksi simbolik antara pemain dan penonton.Teknik pengumpulan data yang digunakan adalah teknik observasi partisipan, wawancara dan studi dokumentasi. Analisis data dilakukan dengan cara mereduksi, mengklarifikasi, mendiskripsikan, menyimpulkan dan mengiterpretasikan semua informasi secara selektif. Teknik Pemeriksaan data menggunakan dependabilitas dan konfirmabilitas. Hasil penelitian menunjukkan bahwa Laesan mempunyai bentuk penyajian yang meliputi (a) tiga bagian penyajian yaitu awal pertunjukan, inti pertunjukan, akhir pertunjukan, (b) unsur-unsur perlengkapan pentas; (c) iringan; (d) rias dan busana; (e) gerak tari representasional dan non representasional. Proses interaksi simbolik terjadi pada setiap bagian pertunjukan. Simbol-simbol yang membentuk proses interaksi simbolik meliputi dupa, sesaji, nyanyian pengiring, makna trance dalam Laesan.   Kata kunci : Laesan, interaksi simbolik, simbol, trance
Professional Competence of Teachers in Learning Music at Elementary Schools in Pontianak
Harmonia: Journal of Arts Research and Education Vol 20, No 1 (2020): June 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.v20i1.24932

Abstract

Learning the art of music that has characteristics, special characters, and is carried out within an integrative thematic frame in elementary schools, needs to be supported by the professional competence of classroom teachers. The purpose of this study was to determine the professional competence of classroom teachers in learning music in elementary schools. This paper is the result of interpretive descriptive research with the main data source of classroom teachers, while the source of supporting data are students and principals. Data collection techniques are done by tests, observations, and interviews. The data collection process is carried out starting before the learning stage until the learning evaluation process. Based on the results of the study showed that: (1) the average mastery of classroom teachers to the knowledge of music theory needed in learning has only reached 45%; (2) the average teacher mastery of musical basic competencies has only reached 42.5%; and (3) the average teacher mastery of musical instrument playing skills competencies needed in learning has only reached 33.75%. The results of tests conducted on the teachers turned out to be relevant to the data obtained during the implementation of learning. It was proven that learning material in the form of musical knowledge such as music symbols, time bars, and various tempos is only taught by one class teacher. The practice of singing traditional songs is not supported by the teacher’s ability to give examples of reading song notation in accordance with the demands of the teacher’s handbook. Practical learning material for playing musical instruments is also only implemented by one classroom teacher. The implementation of music art learning in which most of the time allocation is filled with singing songs that are mastered (memorized) by the teacher. This shows that the classroom teacher in the implementation of music art learning has not been supported by adequate professional competence.
Dutch Batik Motifs: The Role of The Ruler and The Dutch Bussinesman Patria, Asidigisianti Surya
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.v16i2.7357

Abstract

Dutch Batik is the referent of batik which is made by European-Indo woman industry. It can be identified by the European pattern which is a bouquet. This research is aimed to describe the correlation between the development of Dutch Batik with the role of the Dutch government and the Dutch merchant. The library research was used during analyzing the role of the government and the merchant using the Talcott Parsons’ functional structure theory. The batik Dutch companies were commercial oriented. It is different from real Javanese batik which had a purpose to be worn by themselves. Dutch Batik was the expression of the idea and behavior of the Dutch who lived in Indonesia. They expressed their western by using the patterns that were shown in their batik.
BIOLA DALAM SENI PERTUNJUKAN GANDRUNG BANYUWANGI
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.v12i2.2517

Abstract

Gandrung adalah salah satu seni pertunjukan tradisi yang cukup populer di kalangan masyarakat Banyuwangi Jawa Timur. Bentuk Gandrung merupakan perkembangan dari seni pertunjukan Seblang yang juga terdapat di Banyuwangi. Terdapat beberapa instrumen unsur-unsur gamelan yang digunakan untuk iringan musik Gandrung Banyuwangi, antara lain: kendang, ketuk, kempul, gong, kluncing (triangle), angklung, dan saron. Dalam perkembangannya, instrumen Biola dimasukkan sebagai tambahan musik iringan dalam seni pertunjukan Gandrung bersama dengan masuknya kebudayaan Barat yang dibawa pada masa kolonial  Belanda. Pola permainan instrumen Biola pada iringan Gandrung Banyuwangi mempunyai ciri khas tersendiri yang sangat berbeda dengan pola permainan instrumen biola pada musik barat. Dalam perkembangannya juga, instrumen Biola menjadi salah satu instrumen pokok pada seni karawitan Banyuwangi pada umumnya dan seni pertunjukan Gandrung pada khususnya, sehingga instrumen Biola dianggap penting dalam musik iringan seni pertunjukan Gandrung. Adapun fokus penelitian dalam penulisan ini mengulas instrumen Biola dalam seni pertunjukan Gandrung, antara lain: (1) latar belakang dan bentuk penyajian kesenian Gandrung Banyuwangi, (2) teknis permainan biola pada seni pertunjukan Gandrung Banyuwangi, dan (3) fungsi atau kegunaan pemain biola  pada seni pertunjukan Gandrung Banyuwangi Gandrung is one of popular traditional performance arts among Banyuwangi people at East Java. The form is a modification of Seblang performance art, which is popular at Banyuwangi. Among several musical instruments used in Gandrung include kendang, ketuk, kempul, gong, kluncing (triangle), angklung, and saron. In its following performances, violin was included as additional musical accompaniment in Gandrung along with the incoming western culture brought by the Dutch colonialists. The pattern of violin instrument has its own typical features different from that of western violin musical performance. In the following times, violin becomes one of core instruments in Banyuwangi musical performance in common and Gandrung performance art in particular, so that it is considered being important in Gandrung music accompaniment. The focus of the research includes (1) background and form of Gandrung musical performance at Banyuwangi, (2) techniques of violin performance in Gandrung, Banyuwangi, (3) function or use of violinists in Gandrung performance art, Banyuwangi.

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