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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
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The Effect of Music-Based Intervention on Linguistic Skills: A Systematic Review Sinn, Ow Su; Hwa, Poon Chiew; Wing, Cheong Ku; Cooper, Shelly
Harmonia: Journal of Arts Research and Education Vol 22, No 1 (2022): June 2022
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.v22i1.36313

Abstract

Music-based approaches, including singing and movement, have received an extensive examination by researchers. Previous study results have revealed that music-based approaches improved young children’s music skills and enhanced social, linguistic, and logical thinking skills. This review characterizes and compares existing studies to investigate the use of music and movement to improve linguistic skills. This systematic review followed the SPIDER search tool by investigating the samplings (S), the phenomenon of interest (PI), design (D), evaluation (E), and research type (R). This systematic review includes studies published between 2001-2018 with participants ranging from 4 to 12 years old. The authors investigated the designs of 20 articles. 
Mythologization of The Goddess Mazu: Readings through Spacial Setting and Activity in the Interior of Cu An Kiong Temple Triatmodjo, Suastiwi; Tsai, Ted Tsung-te; Burhan, M. Agus; Prasetya, Hanggar Budi; Budiarti, Endah
Harmonia: Journal of Arts Research and Education Vol 22, No 2 (2022): December 2022
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.v22i2.40627

Abstract

This study aims to understand the myth of the Goddess Mazu in Lasem City, Central Java. The research was conducted by observing the interior space at Cu An Kiong (CAK), the oldest temple in Lasem City. This study uses a verbal communication approach from Rapoport (1982) and a cultural approach from Koentjaraningrat (2015) to explore human relations with their environment and explain phenomena that exist in the research object. The research found that there is an exaltation space in this Mazu temple; this space is placed on the axis of space and time, it is to see the meaning of the space that has been built is practiced by the whole community, both the Chinese and the Javanese ethnicities, in a continuous flow of time from the first time the temple was built until now, as well as providing an interpretation of the phenomenon which are actually happened in Lasem. Based on the research, it can be concluded that the exaltation space shows the mythical practice of the Goddess Mazu by the local community, both Chinese and Javanese ethnicities. The mythology of Goddess Mazu, or Mak Co, is the protector of fishermen, sailorman, and common people in Lasem.  
Polemic and Reasons for Reusing Wayang and Gamelan as A Medium for Contemporary Preaching Islam Religion in Central Java, Indonesia Setiawan, Aris
Harmonia: Journal of Arts Research and Education Vol 22, No 2 (2022): December 2022
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.v22i2.37525

Abstract

This study aims to reveal the main reasons why wayang kulit (shadow puppets) and gamelan music were used again as tools of Islamic da’wah after the Wali Sanga era (Nine Saints). In Central Java (Banyumas, Solo, Demak, Pati), there has been a phenomenon of Islamic preaching and recitation performed by Kiai using wayang kulit and gamelan music. This study uses a phenomenological approach, which is to get an explanation of the apparent reality. This approach focuses on events that are seen as having an impact, polemic, and discourse on life. This study also uses a critical approach, looking critically at the phenomenon of -art- being researched to test how far the view that puts that wayang (and gamelan) is not by religious rules is accepted, rejected, and even opposed. The result shows that although da’wah using wayang and gamelan has sparked a lot of polemics, the use of wayang and gamelan music is considered more effective in spreading Islamic teachings to grassroots communities due to two factors. First, continuing the trace of tradition brought by the first Islamic missionaries in Java (Wali Sanga). Second, to make people aware, especially young santri (prospective preachers) or congregation today, realize that Islam is spread peacefully and without resistance through art.
The Organology of Rotenese Musical Instruments According to the Hornbostel-Sachs Classification System Listya, Agastya Rama
Harmonia: Journal of Arts Research and Education Vol 22, No 2 (2022): December 2022
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.v22i2.38218

Abstract

This article aims to propose a classification of Rotenese traditional musical instruments based on the Hornbostel-Sachs (the H-S) method. The author conducted this ethnographic field research on the island of Rote, East Nusa Tenggara Province, from 2015 to 2016. The seven existing Rotenese traditional musical instruments analyzed in this article are: 1) meko ai or the meko o (the wooden or the bamboo xylophone); 2) the meko besik or the meko lilok (the hanging iron or brass gongs); 3) the meko besik or the meko lilok (the iron or brass metallophone); 4) the labu kici or the labu so’e (the single-headed, bowl-shaped drum); 5) the tambur or the labu (the single-headed, long cylindrical drum); 6) the bitala (the crash cymbals); and 7) the sasandu (the heterochord tube-zither). The only Rotenese traditional musical instrument that is not discussed in this article is kianuk, the two-holed bamboo flute, approximately ten centimeters long. This instrument does not exist anymore. The four aspects discussed in this article are 1) the construction, 2) the materials, 3) the ways of playing, and 4) the size of the instruments. Information was gathered from interviews with some key persons and through photography and video recording. This research acknowledges some limitations; for instance, providing exact information is challenging and limiting in the absence of a standard for meko tuning and making. Therefore, the information given here about the size, the material, the tuning, and the note intervals is an approximation. 
Chinese Music Teachers’ Perceptions of Context Issues and Transmission Modes in World Music Teaching Zhuang, Chun Mei; Pan, Kok Chang
Harmonia: Journal of Arts Research and Education Vol 22, No 2 (2022): December 2022
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.v22i2.33225

Abstract

Based on his academic background in multicultural music education and ethnomusicology, Huib Schippers developed the Seven-Continuum Transmission Model (SCTM) in 2004 to describe the teaching situations of world music. The current study adopted the SCTM as a framework to investigate Chinese music teachers’ perceptions of context issues (tradition, authenticity, and context) and transmission modes (analytic/holistic, notation based/aural, and tangible/intangible) in world music teaching. Semi-structured in-depth interviews were conducted using a qualitative methodology with nine primary and secondary school music teachers from different provinces in China. This study found that Chinese music teachers’ perceptions of context issues and transmission modes in world music teaching were more inclined to the formal, institutional settings rather than the informal, often community-based process. In addition, the music teachers were also influenced more by the “Eurocentrism” values; however, their perceptions were less affected by ethnomusicology that interprets human music from a cultural perspective and by multicultural music education.
Children’s Trilingual Songs (Indonesian, English, and Javanese) as Media for Strengthening the Diversity Character of Elementary School Students Sinaga, Syahrul Syah
Harmonia: Journal of Arts Research and Education Vol 22, No 2 (2022): December 2022
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.v22i2.41585

Abstract

Bhineka Tunggal Ika reflects national identity, which contains cultural diversity values in Indonesia. Issues of intolerance and globalization often found in Indonesia are the main reasons for instilling children’s character values about diversity through children’s trilingual songs. This study aims to create and develop children’s songs in three languages (trilingual), namely Indonesian, English, and Javanese, as an effort to strengthen children’s character about tolerance and diversity. This research is a type of research and development (RD) using the ASSURE model by combining qualitative and quantitative methods (mixed method). Data collection was carried out using the method of observation, interviews, and written input on the assessment sheet. Meanwhile, quantitative data is collected through questionnaires and assessment sheets in percentage values from experts and users. The results of the study show that the song “Harmony in Diversity” can be used as an educational medium in educating children to have a global outlook but still love the national language and preserve regional languages. This is because they have studied, expressed, and appreciated songs with trilingual meanings and lyrics. The children’s song “Harmoni dalam Keberagaman” is declared feasible and applicable for learning at the elementary school level. This is evidenced by the data validation results, which show that all indicators, namely song components, language, appearance, audiovisual media engineering, and implementation, get very feasible criteria, with an average score of 89.59%. The aspect that gets the highest score is the display aspect, with a score of 90.48%, and the aspect with the lowest percentage is the visual media design component and the song component, with a score of 87.5%.. 
Music and Identity: Immortal Rites’ Art as the Narrative of Contemporary Kejawen Identity Akhtabi, Petrik Mahisa; Puryanti, Lina
Harmonia: Journal of Arts Research and Education Vol 22, No 2 (2022): December 2022
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.v22i2.37513

Abstract

This study explores the context of identity in the musical arts echoed by a Black Metal band from Kediri, Immortal Rites. Aesthetically, Immortal Rites articulate Javanese locality using Black Metal, a sub-genre of underground music that emerged in Indonesia in the late 90s. Accordingly, the band lined up as one of the Kejawen Black Metal whose consistency and depth of understanding are well appreciated within the scene. The unification of two different cultures provokes a complex contemporary value of a cultural reflection concerning identity. This study uses a qualitative research method with a descriptive approach. This study aims to discuss the narrative of identity that Immortal Rites wish to embody for its fans to understand. By focusing analysis on the main data of song lyrics with additional data in the form of interviews, we found that the echoed locality represents a notion of contemporary Javanese identity. Within the arts, there was a close relevance of the content with the identical Javaneseness in the era of the Kadiri kingdom. Thus, based on the engagement of the arts and the Kediri-based Javaneseness, it leads us to an understanding of the mediated cultural representation of contemporary Javanese identity, of a Daha-based Javanese identity.
Meaning Differences in Indigenous Kriya and Crafts in Indonesia and Their Leverage on the Craft of Science Globally Hendriyana, Husen
Harmonia: Journal of Arts Research and Education Vol 22, No 2 (2022): December 2022
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.v22i2.36567

Abstract

The meaning of a term is supported by the cultural values of the supporting community, specifically the designer community, who recognize and have faith in the contained values. In a broader sense, the terms kriya and kerajinan are components of the craft-science field. Since 1968, the meaning of the terms kriya, kerajinan, and Craft has been a source of contention among stakeholder community groups in Indonesia. This article aims to convey a scientific understanding of adaptive crafts based on the global development of Indonesian indigenous crafts. This study employed a descriptive-analytical method and an ethnographic communication approach, focusing on sociolinguist studies that include diachronic and synchronic studies. Based on current and relevant theories, the research findings demonstrated the development of Indonesian indigenous crafts in a global context. In conclusion, the Hasta Cipta Preneurship (HCP) theoretical approach was used to identify the basic components: creative ideas, people, products, markets, venues, reproduction, humanists, and support. This HCP creative process extends the definition of new kriya as one of the academic competencies of two-dimensional and/or three-dimensional visual works that advance the conceptual intelligence of Laku Hidup Lestari (LHL-- Sustainable Lifestyles) and is oriented to the aspects of utility, significance, and aesthetics, with the goals and targets for achievement to the aspect of user needs, solutions, and innovation.
24 Jie Ling Gu (24 Festive Drums): Imagining the 24 Jie Ling (Phenomena) of China in Enacting Cultural Solidarity among the Chinese Diaspora of Malaysia Chan, Clare Suet Ching
Harmonia: Journal of Arts Research and Education Vol 22, No 2 (2022): December 2022
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.v22i2.31813

Abstract

The 24 Jie Ling Gu (24 Festive Drums) is a drum ensemble that  consists of 24 lion drums (shigu) played by twenty-four drummers who move to spectacular and dynamic choreography in synchronization with the rhythmic patterns struck on the shigu. It is an “invented tradition” created by the Chinese diaspora of Malaysia. In response to the 1970s National Cultural Policy (NCP) which aimed toward the construction of a homogenized national identity, the Chinese founded the 24 Jie Ling Gu ensemble to enact cultural solidarity and unify the people toward a sense of belonging to their distant motherland in China. They created the music and movements of the 24 Jie Ling Gu to manifest the 24 jie ling (phenomena)—the weather changes, agricultural activities, and natural phenomenon inherent in the 24 jie qi (jie: joints; qi: breath) or seasonal periods. Due to the fact that the Chinese of Malaysia have not physically experienced China but are connected to it through literature and media technology, I argue that the 24 Jie Ling Gu performers utilized their imagination and localized experience of Malaysia to manifest the 24 jie ling in China. This article is based on ethnographic fieldwork and ongoing revisits to this genre through a span of more than 20 years. 
The Symbolic Meaning of the Wireng Dance Choreography at the Kasunanan Surakarta Palace Jazuli, Muhammad; Suharji, Suharji; Pebrianti, Sestri Indah
Harmonia: Journal of Arts Research and Education Vol 22, No 2 (2022): December 2022
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.v22i2.37181

Abstract

The aim of this research is to find out the specifications of the choreographic form and the symbolic meaning of wirèng in the Kasunanan Palace. A qualitative descriptive research design with form-matching techniques was employed; meanwhile, the data collection techniques employed observation, interviews, and literature study. The data analysis includes the form of the wirèng choreography and its symbolic meaning. From the results of the study, it was found that the choreographic form of wirèng in Kasunanan was used for pair dances and had a soldier’s theme, while in Mangkunagaran wirèng was used to denote the term dance because wirèng is synonymous with the word beksan which means dance. The pattern of the wirèng choreography in Kasunanan has specifications, namely: (1) it is performed by male and female dancers in an even number, (2) it consists of three parts, namely the initial part (maju beksan), the main part (beksan), and the final part (mundur beksan), (3) in the main part of the dance there are variations of the dance scenes and variations of war scenes, such as madras wars or gending wars, referring to a typical war dance which is accompanied by slow (lamba) and constant (steady) rhythmic gendhing or music, and ruket wars which are accompanied by fast-rhythmic pieces of music (mipil-lancaran), (4) changes and differences always follow every change of part in the composition of the accompaniment pieces. Wirèng’s symbolic meaning reflects the value system prevailing in the palace environment, symbolized by the numbers zero, two, and three, movement characteristics, and movement patterns (gawang) in the choreography.

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