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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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KONSEP KEPESINDENAN DAN ELEMEN-ELEMEN DASARNYA Budiarti, Muriah
Harmonia: Journal of Arts Research and Education Vol 13, No 2 (2013): (DOI & DOAJ Indexed, December 2013)
Publisher : Department of Drama, Dance, and Musik (Sendratasik), Semarang State University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v13i2.2781

Abstract

Sindhenan merupakan bagian kesatuan dengan karawitan dalam rangka meningkatkan rasa estetik. Sindhenan adalah olah vokal mengikuti  irama musik gamelan dengan teknik penyuaraan yang khas  yang didasarkan konsep  estetika  Jawa. Teknik penyuaraan meliputi,  teknik luk, wiled, gregel, angkatan, seleh dan teknik pernafasan. Konsep sindhenan  yang berkualitas dikenal dengan sebutan nggendingi, mencakup mungguh, ngledheki, lelewa, pas, ngenongi, nggandhul, selingan, dan andhegan. Olah vokal yang dilakukan pesinden melalui pelatihan yang lama berulang-ulang menyesuaikan dengan laras gamelan yang dibunyikan. Beberapa pesinden adakalanya melakukan gerak serta sikap yang menarik. Pesinden untuk asambel dan  iringan pakeliran lazimnya mengutamakan warna suara, teknik penyuaraan dan vokabuler penguasaan kalimat lagu. Pesinden dituntut selalu dalam kondisi prima dalam penampilan oleh karena  menjadi perhatian penikmat. Fungsi utama sindhenan  adalah memperkaya nilai estetik dalam pertunjukan. Sindhenan is a part of karawitan in order to enhance the sense of aesthetics. It is a voice of pesinden following the rhythm of gamelan music with a distinctive voicing technique according to aesthetic concepts of Java. The voicing technique includes luk technique, wiled, gregel, angkatan, seleh, and respiratory techniques. The concept of qualified sindhenan is known as nggendingi, including mungguh, ngledheki, lelewa, pas, ngenongi, nggandhul, andhegan, and selingan. The vocal training has been through a long process of training adjust with the rhythm of gamelan music. Some of the pesindens sometimes do some interesting motions. Pesinden for ansambel and pakeliran performances often give priority to the accompaniment of voice colors, voicing techniques, pronuncing technique of song lyrics. Pesinden is demanded in good condition in their performances as they are the main attention of the audience. The main function of sindhenan is to enrich the value of aesthetics in the show.
MAKNA SIMBOLIK SENI BEGALAN BAGI PENDIDIKAN ETIKA MASYARAKAT Lestari, Peni
Harmonia: Journal of Arts Research and Education Vol 13, No 2 (2013): (DOI & DOAJ Indexed, December 2013)
Publisher : Department of Drama, Dance, and Musik (Sendratasik), Semarang State University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v13i2.2782

Abstract

Kesenian Begalan merupakan seni pertunjukan yang memberi keuntungan pada masyarakat karena di dalam acara inti seni hiburan tersebut mengandung nasehat perkawinan dengan mengungkapkan arti simbolik tersirat yang ditunjukkan dalam bentuk properti, seperti ian, ilir, kukusan, pedaringan, layah, muthu, irus, siwur, beras, wangkring, sapu sada, suket, cething, daun salam, dan tampah. Tujuan penelitian ini adalah untuk menentukan: (1) bentuk seni pertunjukan Begalan, (2) arti simbol-simbol yang terkandung dalam brenong kepang (properti pertunjukan), (3) nilai etika masyarakat Begalan yang terkandung dalam seni pertunjukan. Digunakannya metode kualitatif dalam penelitian adalah agar terdapat diskusi dengan mengekspos subyek dan obyek penelitian sesuai dengan fakta-fakta yang ditemui di lapangan. Pengumpulan data menggunakan teknik observasi, wawancara dan dokumentasi. Sarannya adalah agar pemerintah Banyumas perlu membuat kebijakan untuk mengembangkan seni Begalan, nilai-nilai pendidikan etika dapat diterapkan dalam kehidupan. Seni Begalan dapat dimasukkan sebagai materi subjek seni dan budaya di sekolah, khususnya di Banyumas. Begalan is an art performance that gives benefits to the community because the essence of the show contains the advice of marriage by breaking the symbolic meanings implied in the form of show properties, such as ian, ilir, kukusan, pedaringan, layah, muthu, irus, siwur, rice, wangkring, sada broom, suket, cething, laurellike leaves, and tampah. The study aims to determine: (1) the forms of Begalan performance, (2) the meaning of the symbols contained in brenong kepang (the properties of the performance), (3) the value of ethics for Begalan people reflected in the performing arts. The use of qualitative method in research intend to get the discussion of the issue conducted by exposing a state subject and object of research in accordance with the facts encountered in the field. The collection of data uses observation techniques, interviews, and documentation. The suggestion is that Banyumas government should create policies to preserve and develop Begalan performing arts in which ethical values can be applied in life. Begalan performing arts can be included as a subject of art and culture in schools, especially in Banyumas.
SHAMANISME: FENOMENA RELIGIUS DALAM SENI PERTUNJUKAN NUSANTARA -, Sunarto
Harmonia: Journal of Arts Research and Education Vol 13, No 2 (2013): (DOI & DOAJ Indexed, December 2013)
Publisher : Department of Drama, Dance, and Musik (Sendratasik), Semarang State University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v13i2.2783

Abstract

Budaya Shamanisme ini telah memberikan kepada Nusantara musik ritual dengan waditra: gendang, gong, dan kecrek; dengan pertunjukan yang mempunyai maksud untuk memuliakan arwah para leluhur. Bentuk seni yang ditampilkan, seperti: tari topeng. Budaya ini juga telah membawa skala Pentatonik yang berasal dari tradisi Melayu-Nusantara untuk wilayah belahan barat, dan tradisi Asiatik untuk belahan Timur. Hal tersebut mirip dengan paham Cina kuno (3500 SM), yang memandang musik sebagai seni yang mengungkapkan persatuan sorga dan bumi. Konsep seni adhiluhung (yang berarti damai dan agung) dalam Gamelan Jawa diturunkan dari paham tersebut. Sedangkan dalam Hinduisme menganggap musik sebagai Yoga untuk bersatu dengan Brahman dan sarana pengembangan rasa estetis-religius. Suhardjo Parto dalam Disertasinya, Folk Traditional as a Key to the Understanding of Music Cultures of Java and Bali (Osaka University, 1990), membuat peta dengan sebutan wilayah etnomusikologis “Indonesia Barat Daya”: suatu wilayah yang terbentang dari Sumatra Selatan, Jawa (Madura), Bali, dan Lombok. This Shamanism culture has given the archipelago music: ritual music of waditra: drums, gongs, and kecrek; with performances that had the intention to honour deceased ancestors. The form of the performance art shown is Tari Topeng (mask dance). This culture has also brought a pentatonic scale derived from the Malay-Indonesian tradition in the Western hemisphere to Asiatic tradition in the Eastern hemisphere. It is similar to ancient China concept (3500 BC), which looked at music as an art that expresses the unity of Heaven and Earth. This is from which the concept of art adhiluhung (peaceful and great) in Javanese Gamelan is derived. Hinduism considers music as Yoga for uniting with Brahman and a means of developing a sense of the aesthetic-religious. Suhardjo Parto in his dissertation, Traditional Folk as a Key to the Understanding of Music Cultures of Java and Bali (Osaka University, 1990), made a map as the ethnomusicologist “Southwest Indonesia”: an area stretching from South Sumatra, Java (Madura), Bali, and Lombok.
RIJOQ: VOCAL MUSIC OF DAYAK BENUAQ FROM KUTAI, EAST KALIMANTAN -, Ester; Listya, Agastya Rama
Harmonia: Journal of Arts Research and Education Vol 14, No 1 (2014): (DOI & DOAJ Indexed, June 2014)
Publisher : Department of Drama, Dance, and Musik (Sendratasik), Semarang State University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v14i1.2784

Abstract

Rijoq, a Dayak Benuaq vocal music, has been passed down from generation to generation through oral tradition for hundreds of years. When and how it was founded, developed and preserved in the Dayak community remains questionable. But according to some research done by scholars, Rijoq has its origin from Dayak Bawo, a tribe living in the borderlines between Central, South, and East Kalimantan. Rijoq is normally performed during festivities, such as: initiation, reconciliation, menugal (rice planting) and potong kerbau (buffalo slaughtering). Rijoq’s texts have very deep messages which are considered still relevant to today’s life context. On the one hand, it speaks about the horizontal relationship—human beings and their fellows, and human beings and its nature—; and on the other hand, the vertical relationship—human beings with their Creator. The primary concern of doing this research is to preserve Rijoq as written and recorded documents. So far, this research has been successful in notating and recording five kinds of Rijoq, that is Peket Muat Bolupm (working together to build lives), Rijoq Patuk Ajer (advice), Rijoq Natal Tautn Bayuq (Christmas and New Year), Rijoq Isiq Asekng Sookng Bawe (the expression of a man’s feeling who is falling in love with a woman), and Rijoq Lati Tana Orekng Tepa (forests and lands are disappearing and gone). But this paper is not intended to discuss these five kinds of Rijoq. Isiq Asekng Sookng Bawe is chosen as it is the oldest and the most difficult Rijoq among the rest.
THE PHILOSOPHY OF PUPPET CHARACTERS BATHARA IN MURWAKALA PLAY FOR THE VALUE OF LEADERSHIP ETHICS Lestari, Wahyu
Harmonia: Journal of Arts Research and Education Vol 14, No 1 (2014): (DOI & DOAJ Indexed, June 2014)
Publisher : Department of Drama, Dance, and Musik (Sendratasik), Semarang State University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v14i1.2785

Abstract

The study aims to find out the values of leadership ethics in Murwakala play. which is beneficial to society in empowering the existence of the puppet. The position of puppeteers in Central Java is now farther away from the younger generation and society. The preferred method is through an objective method to find out the design of performance according to contemporary tastes, as well as referring to the theory of structuralism in order to uncover the meaning of the textual and contextual performance. Method of observation, interview and documentation are also used, in order to get comprehensive data. The results showed the findings of the ethics of leadership from the teachings of puppet plays Murwakala Asthabrata or eight teachings contained in nature into eight figures in the play, which synergized with the nature of the universe, such as the nature of clouds, rain, water, stars, moon, sun, fire, ocean and earth. The findings are collaborative performances Murwakala played in the new format, according to contemporary tastes, semi-theatrical performances. Another finding is souvenirs designs and culinary business run with team leadership ethics, to enhance the creative industry and economy, establish a relationship with buyers and affiliated institutions, with a supporting program of stakeholders.
SIGNIFICANT INFLUENCES OF VIOLIN EXTRACURRICULAR ACHIEVEMENT TO EMOTIONAL INTELLIGENCE Salafiyah, Nafik
Harmonia: Journal of Arts Research and Education Vol 14, No 1 (2014): (DOI & DOAJ Indexed, June 2014)
Publisher : Department of Drama, Dance, and Musik (Sendratasik), Semarang State University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v14i1.2786

Abstract

This research aims to find out (1) whether there is an influence between student’s achievements of learning violin toward their emotional intelligence, (2) whether there is a correlation between student’s achievement of learning violin and their emotional intelligence, and (3) how much contribution of student’s achievement of learning violin to their emotional intelligence. It is a qualitative research which is defined as a research method based on positivism philosophy which is used to study particular sample and population. The sample and population are drawn randomly using research instruments to collect data, and the data are analyzed statistically. This aims to examine the hypothesis defined. The finding shows that there is a significant influence between student’s achievement of learning violin and their emotional intelligence about 76.1%, while the rest of it 23.9% is influenced by other factors which are not studied in this research. It proves that learning violin influences student’s emotional intelligence very much and emotional intelligence is influential in increasing student’s achievement. From the data, it shows that most of the students participating in violin extracurricular are able to increase their learning achievement.
DEVELOPED MUSIC TEACHING KIT OF PAKEM FOR ELEMENTARY SCHOOL MUSIC LEARNING Yermiandhoko, Yoyok
Harmonia: Journal of Arts Research and Education Vol 14, No 1 (2014): (DOI & DOAJ Indexed, June 2014)
Publisher : Department of Drama, Dance, and Musik (Sendratasik), Semarang State University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v14i1.2787

Abstract

The objective of the research was to: (1) construct a model and develop a music teaching kit of PAKEM which were appropriately applied to the music teaching learning process in the third grade of elementary schools; (2) describe the level of conceptual feasibility; (3) describe the level of operational feasibility; and (4) describe the level of effectiveness of the music teaching kit of PAKEM developed. This research uses eight steps of development which is the modification of 10 steps of Borg & Galldevelopment research. The data to be analyzed included (1) the observation data of teachers and students; (2) the survey form for teachers and students; (3) the students’ learning result of music class; and (4) the result of students’ performance of musical ability. The results of development research indicated that the music teaching kit developed: (1) can be used by teachers without encountering difficulties; (2) can last eliminating difficulties and limitations in conducting music teacher learning process; (3) is able to engage students actively; (4) is capable of motivating students to enjoy learning music; and (5) is able to improve the results of music learning in theory and practice.
THE IMPROVEMENT OF AUDIO-VISUAL BASED DANCE APPRECIATION LEARNING AMONG PRIMARY TEACHER EDUCATION STUDENTS OF MAKASSAR STATE UNIVERSITY -, Wahira
Harmonia: Journal of Arts Research and Education Vol 14, No 1 (2014): (DOI & DOAJ Indexed, June 2014)
Publisher : Department of Drama, Dance, and Musik (Sendratasik), Semarang State University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v14i1.2788

Abstract

This research aimed to improve the skill in appreciating dances owned by the students of Primary Teacher Education of Makassar State University, to improve the perception towards audio-visual based art appreciation, to increase the students’ interest in audio-visual based art education subject, and to increase the students’ responses to the subject. This research was classroom action research using the research design created by Kemmis & MC. Taggart, which was conducted to 42 students of Primary Teacher Education of Makassar State University. The data collection was conducted using observation, questionnaire, and interview. The techniques of data analysis applied in this research were descriptive qualitative and quantitative. The results of this research were: (1) the students’ achievement in audio-visual based dance appreciation improved: precycle 33,33%,  cycle I  42,85% and cycle II 83,33%, (2) the students’ perception towards the audio-visual based dance appreciation improved: cycle I 59,52%, and cycle II 71,42%. The students’ perception towards the subject obtained through structured interview in cycle I and II was 69,83% in a high category, (3) the interest of the students in the art education subject, especially audio-visual based dance appreciation, increased: cycle I 52,38% and cycle II 64,28%, and the students’ interest in the subject obtained through structured interview was 69,50 % in a high category. (3) the students’ response to audio-visual based dance appreciation  increased: cycle I 54,76% and cycle II 69,04% in a good category.
REOG AS MEANS OF STUDENTS’ APPRECIATION AND CREATION IN ARTS AND CULTURE BASED ON THE LOCAL WISDOM Ambarwangi, Sri
Harmonia: Journal of Arts Research and Education Vol 14, No 1 (2014): (DOI & DOAJ Indexed, June 2014)
Publisher : Department of Drama, Dance, and Musik (Sendratasik), Semarang State University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v14i1.2789

Abstract

This paper is the result of the study and the implementation of learning in the field  of the author, especially in the implementation of the study of Arts and Culture in the vocational schools. The purpose of this paper is to show that by learning local culture based on learning objectives the corresponding to the curriculum can be reached. In fact, the local culture also containing more local wisdom is felt directly by the students. The art of Reog, known around Pringapus Semarang Regency, can be used as means of learning arts for students, especially in the activities of appreciation and expressions. The existing values in the art of Reog can be conceptually presented in class, as well as directly through the students’ activities of appreciation and expression in the form of performances in the school environment. Students can easily receive learning materials and can be more expressive while presenting the show. The values that are in the presentation of the art of Reog are social, religion, nationalism, and culture. Students can present Reog with enthusiasm and expressive as a show that has already exist since a long time in the environment of their own, and even many have become the performers of Reog in their neighborhood. Reog has already been part of his life that has the role of self-actualization, expression, social, and cultural. Most of those students feel proud to be a part in the show in his living quarters so that they do not feel ashamed of serving the art in school.
ARSIS AND THESIS: A REVIEW OF TWO ELEMENTS OF RHYTHM IN NON-TRADITIONAL MUSIC WRITTEN BY F. H. SMITH VAN WAESBERGHE D.J -, Sunarto
Harmonia: Journal of Arts Research and Education Vol 14, No 1 (2014): (DOI & DOAJ Indexed, June 2014)
Publisher : Department of Drama, Dance, and Musik (Sendratasik), Semarang State University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v14i1.2790

Abstract

This paper aims to discuss the comparative terms of arsis and thesis in the study of Western music. The purpose of the study is to study the forms of music from the terms of language and its application, because there are many elements of music that are not understandable. Method of this study uses classical literature and musicology approach in which the great phrase rhythm of Gregorian music was more appropriately take a literary term; arsis and thesis. The focus of this study is to discuss the terms of Arsis and Thesis used in the section of rhythm elements of non-traditional music. This study reveals several musical terms in which there are similarities and differences between the rhythm and bars of music. The similarities and differences in the analysis are based on the history of Western music from Gregorian music. Gregorian was monophonic music that still existed in Europe until the 19th century. There were only two phrases in Gregorian music; when  the melody moved up and when it moved down. In this case, there were two main elements in Gregorian music; they were different in rhythmic and they were in one rhythm of music. Arsis is a hard melody while thesis is a soft melody. It could be said that arsis and thesis are also parts of the dynamics form of music work.  Keywords: arsis; Thesis; music rhythm; non-traditional music.

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