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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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Audience Perception of Effective Communication in Nigerian Paintings Abodunrin, Johnson Adelani
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.v16i2.7824

Abstract

Artists in Nigeria perceived effective communication differently irrespective of the socio-economic status.Communication effectiveness depends largely on the understanding of the message being passed between a sender and a receiver. Painting has been used over time to express emotion and feeling to the perceiving audience. The study is audience’s perception of communication in Nigeria painting and how it varies with the socio-economic characteristics such as age, education, gender, and being professional artist or art lovers. Questionnaires were distributed and administered to examine how the status of the art audience makes or mars effective communication in painting. The inferential statistics that were employed include “chi-square test” to test the relationship between different variables. The data were taken in ordinal form using Likert’s scale, and transformed into interval data. This was done by attaching statistical weights to the responses in the order of importance which were summed up for the parametric testing. Findings show that gender factor has nothing to do with the understanding of paintings. Also, the level of education obtained by the audience does not have much to do with understanding of contemporary Nigerian painting but a better exposure to the issue concerning the stylistic development of Nigerian painting. Art practitioners must adequately be guided on stylistic trend in painting, art education should be more intensified in educational curriculum in Nigeria. The paper concludes that audience requires a better exposure to the issues concerning the stylistic development of Nigerian painting for effective communication to take place.
SENI TUTUR JEMBLUNG DI KABUPATEN BANYUMAS  (Art oral action Jemblung in Kabupaten Banyumas) Pratjichno, Bambang
Harmonia: Journal of Arts Research and Education Vol 4, No 2 (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.v4i2.710

Abstract

Pertunjukan   Jemblung   dilaksanakan   semalam   suntuk   seperti halnya   kebiasaan   seni   pertunjukan   di   Jawa   umumnya.   Sumber   cerita tersebut   diatas   dikemas   dalam   sebuah   lakon   drama   dengan   cara memadukan antara   tembang,   gending,   dialog   antar  tokoh   yang   terlibat dalam alur cerita kemudian diungkapkan secara oral. Dalam pertunjukan Jemblung poeranan dalang sangat vital karena selain sebagai pimpinan pertunjukan juga bertindak sebagai sutradara pertunjukan. Struktur sajian Jemblung   terdiri   dari   beberapa   adegan,   yaitu   pambuka,   jejer   seisan, adegan Aluas, Adegan Gagah, adangan Karang Padesan, adegan Gecul, adegan   Prnesan,   adegan   Tangisan,   dan   Panutup.   Penyajian   adegan­adegan tersebut tampak ada kemiripan dengan sajina kethoprak, seperti ada   peran   raja,   sentana,   dan  kawula.   Namun, demikian   keberadaan peran­peran seperti itu disesuaikan dengan cerita yang disajikan.Kata kunci : Jemblung, struktur pertunjukan.
PERAN SEMAR DALAM PERTUNJUKAN WAYANG KULIT JAWA GAYA SURAKARTA Randyo, -
Harmonia: Journal of Arts Research and Education Vol 9, No 2 (2009)
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.v9i2.645

Abstract

Semar is the mysterious puppet charaters and vague. Semar is present in all versions ofleather puppet theater performances. Stories in puppet shows, Semar is present in twomain roles, first as a supporter of the birth of the holder of the most important role in theplay, namely the presence of seeds that will take a decisive position in the theater, precededby his presence because, seond Semar become major stakeholders in play as an example:Kilat Buana, Semar Kuning, Semar Papa, Semar Mbarang Jantur. Semar represent sudrafigures, also represent the people in general. In the play lebet containing about philosophyof life, the presence of Semar preceded by events because it is an extraordinary event. Garagarain the puppet shows are usually marked by a major event in the universe caused by avariety of puppet characters. It appeared to subside after Semar figure. As the atmosphereConditioning, Semar comes with poise, dignity many illustrations that can be interpretedfrom him. Semar restore the harmony of the play that ended mulih play according to plan.Things returned to normal play Semar sometimes even appear as a fresh air carriers and thehumorous seasoning with punakawan others, can be used to establish rapport with theaudience. Semar is a symbol characters will be elected to the presence of a knight, who has agenuine spirit of struggle, and the birth of world harmony.Kata Kunci: Semar, pertunjukan, wayang kulit jawa, gaya Surakarta.
SEJARAH MUSIK SEBAGAI SUMBER PENGETAHUAN ILMIAH UNTUK BELAJAR TEORI, KOMPOSISI, DAN PRAKTIK MUSIK Martopo, Hari
Harmonia: Journal of Arts Research and Education Vol 13, No 2 (2013): December 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.v13i2.2779

Abstract

Dalam ranah pendidikan music, mata sejarah musik memiliki fungsi paling dasar dan penting sebagai pengetahuan ilmiah bagi semua mata pelajaran dan minat-minat studi yang terkait dengan bidang studi musik. Sejarah musik sangat bermanfaat untuk belajar teori-teori (musicology), atau penciptaan musik (composition), dan juga praktik-praktik vokal maupun instrumen musik (performance). Sekalipun sejarah musik penting sebagai pengetahuan ilmiah, tetapi perlu dilengkapi dengan sumber informasi tambahan antara lain pengetahuan tentang kebudayaan; sejarah filsafat; sejarah umum; perkembangan teknologi dan sains; bahkan mitologi. Artikel ini diharapkan akan dibaca dan bermanfaat bagi siapa saja terutama para pelajar musik dan juga termasuk para pengajar sejarah musik. Pembelajaran sejarah musik dapat dieksplorasi agar menjadi lebih menarik, menyenangkan, dan mencapai tujuannya yakni sebagai ilmu pengetahuan ilmiah musik. In the domain of music education — the history of music has the most basic and important function as scientific knowledge for all subjects and interests – the interests of related subjects with majors in music. It is very beneficial to learning theories (musicology), or music creation (composition), and also practices of vocals and music instruments (performance). Though it is important as scientific knowledge, but it needs to be complemented by additional information sources like knowledge of culture, the history of philosophy, public history, the development of technology and science, and even mythology. This article will hopefully be useful for anyone, especially the students and also teachers of music history. Learning music history can be explored in order to become more attractive and fun, and achieve the goal of learning; that is a source of scientific knowledge.
PEMBELAJARAN MUSIK KREATIF PADA ANAK USIA DINI (The Learning of Creative Music in Early-childhood Children) Yosep, Wagiman
Harmonia: Journal of Arts Research and Education Vol 5, No 1 (2004)
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.v5i1.829

Abstract

Sa/a/7 satu ciri kehidupan manusia adalah berpikir kreatif, begitujuga pada anak. Kreativitas anak dapat dipupuk/dikembangkan antara lain melalui pembelajaran musik. Pembelajaran musik bersifat terbuka dan tertutup. Kegiatan tertutup berhubungan dengan kegiatan mental dan kegiatan terbuka berhubungandengan tindakan nyata. Dalam pembelajaran musik kreatif peran afeksi dalam kognisidan performs musik sangat penting. Belajar keterampilan adalah sa/a/7 satu perspektifpenting pada pembelajaran musik kreatif, yang sa/a/7 safu aktivitasnya adalahmenyanyi. Keberhasilan proses belajar musik kreatif sangat tergantung pada suasana kegiatan belajar yang kondusif.Kata Kunci Kreativitas; pembelajaran musik; performa musik; menyanyi.
TARI GANDRUNG SEBAGAI OBYEK WISATA ANDALAN BANYUWANGI Suharti, Mamiek
Harmonia: Journal of Arts Research and Education Vol 12, No 1 (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.v12i1.2215

Abstract

Gandrung merupakan salah satu seni tari tradisional khas Kabupaten Banyuwangi Tari  Gandrung merupakan perkembangan dari tari Seblang. Tari Gandrung dalam pertunjukannya didukung berbagai unsur yakni penari, musik, alat musik, nyanyian, gerak tari dan  panggung. Dalam pementasannya setiap satu orang penari gandrung di iringi  4 orang pemaju atau pengibing semuanya laki laki atau semua perempuan. Tari Gandrung Banyuwangi dalam pementasan ada tiga adegan yaitu jejer, rerepen dan seblang subuh. Tari gandrung bisa dipentaskan di berbagai kesempatan antara lain pesta hajatan, hari besar nasional, dalam rangka memperingati hari jadi kabupaten kegiatan pariwisata.Tari gandrung sekarang telah menjadi daya tarik wisata, dikemas secara padat ringkas dan dapat dipentaskan setiap saat. Gandrung is one of Banyuwangi’s traditional dances. The dance is a continuation of Seblang dance. Gandrung dance in performance is supported by various components such as dancers, music, musical instruments, songs, dance movement, and stage. In its performance, each gandrung dancer is accompanied by 4 pemaju or pengibing (choral dancers) of all male or female ones. The dance has three scenes, namely jejer, rerepen and seblang subuh. Gandrung dance is usually performed in various occasions such as wedding, national days, or in commemoration of regency’s anniversary, and in tourism events. Gandrung dance now becomes tourism attraction, produced in a concise way & be performed for any occasion.
Perkembangan Tari Ritual Menuju Tari Pseudoritual di Surakarta (The Development of Ritual Dance toward Pseudoritual Dance in Surakarta) Bisri, Moh Hasan
Harmonia: Journal of Arts Research and Education Vol 8, No 1 (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.v8i1.798

Abstract

Seni tari merupakan cermin dari realitas manusia yang dicoba dikemas lewat"gerak-musikal". Kekuatan seni tari terletak pada makna di belakang setiap gerakanyang dipandu dengan alunan iringan musik. Realitas alam fisik maupun non fisikditampilkan seni tari dengan gerakan yang mempunyai arti bagi manusia itusendiri. Sejak jaman prasejarah telah diketahui bahwa tari lahir didasari olehkegunaannya pada masyarakat jamannya. Pada masyarakat primitif sangatdirasakan tari sebagai sarana atau media untuk mencapai suatu kebutuhan, merekasangat percaya dengan menari akhirnya apa yang diinginkan akan tercapai. Tariupacara sebagai media persembahan dan pemujaan terhadap kekuasaan yang lebihtinggi dengan maksud untuk mendapatkan perlindungan, demi keselamatan,kebahagiaan dan kesejahteraan hidup masyarakat. Dengan demikian, tari upacarajuga disebut tari ritual. Pada tari upacara (ritual) faktor keindahan adalahsekunder, yang mengutamakan kekuatan yang dapat mempengaruhi kehidupanmanusia sendiri ataupun hal-hal di luar diri manusia. Keindahan jiwa manusia itusendiri dimanifestasikan menjadi bentuk gerak tari. Tari dilaksanakan untukmendapatkan makanan, menghormati orang mati, atau untuk menjamin tertib yangbaik dalam kosmos. Tarian tersebut dilangsungkan pada kesempatan inisiasi,upacara magis-religius, perkawinan, dan sebagainya.Kata Kunci : perkembangan, tari ritual, psiuduritual.
MEMPERTIMBANGKAN KONSEP PENDIDIKAN SENI (Considering the Concept of Art Education) Iryanti, V Eny; Jazuli, M
Harmonia: Journal of Arts Research and Education Vol 2, No 2 (2001)
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.v2i2.851

Abstract

Seni mempunyai peran yang sangat penting, yaitu sebagai kebutuhandasar pendidikan manusia (Bacis Experience in Education), memenuhikebutuhan dasar estetika, pengembangan sikap dan kepribadian, dandeterminan terhadap kecerdasan lainnya. Pendiidkan seni yangebrdimensi mental (moral) sesungguhnya dapat membantu kecerdasanemosional dan intelektual, menghargai pluralitas budaya dan alamsemesta, menumbuhkan daya imaginasi, motivasi, dan harmonisasi siswadalam menyiasati atau menanggapi setiap fenomena sosial budaya.Kata Kunci : pendidikan seni, kompetensi
Telaah Karakterologi dan Etika Tokoh Bisma dalam Pewayangan Jawa (Charachterologi and Ethic of Bisma Figure in Javanes Pupetry) Randya, M.
Harmonia: Journal of Arts Research and Education Vol 7, No 1 (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.v7i1.750

Abstract

Bisma merupakan tokoh sentral dalam serial epos Mahabarata. Perang besarBaratayuda sebagian besar diakibatkan oleh karakter nya. Sebagai seorang ksatriabrahmana yang sakti mandraguna, Bisma/Dewabrata menjadi salah seorangmahasenapati yang memimpin peperangan paling lama dibanding dengan tokohsenapati Kurawa yang lain.. Bisma sebagai seorang maharesi sangat bijaksana,tabiatnya yang selalu hormat terhadap orang tua,pejabat dan bersifat rukunterhadap sesama termasuk kepada ibu tiri,keturunan musuh ,layak menjadipengayon,penasehat raja , merupakan contoh nilai etis yang diperagakan olehtokoh besar dalam pewayangan. Oleh karena kesempurnaan bertapa dan selalumenepati sumpahnya, dewa memberikan Bisma matram sakti Swacchandamaranasehingga tidak dapat mati kecuali atas kemauannya sendiri. Bisma merupakantokoh pahlawan yang menjadi senapati ambigoes artinya tokoh yang mendua,secara batin membantu Pandawa dan secara lahiriah membela Kurawa. Menjelangakhir hidupnya setelah menjadi senapati melawan satu satunya senapati Pandawayang berupa seorang wanita, Bisma banyak memberikan pesan moral kepada paraksatria sehingga menyebabkan tetap dihormatinya . Prinsip hidupnya yangtegas,selalu menepati janji dan sangat setia pada sumpahnya menjadikan Bismamenjadi seorang maharesi wara yang tetap dikenang selamanya. Bisma beraniberkorban demi kepentingan orang lain dengan prinsip hormat,rukun,keadilan,kebenaran,dan keluhuran budinya. Prinsip rukun dan hormat sertaadil,jujur,bijaksana menjadi salah satu kebijaksanaan hidup orang jawa pendukungpewayangan.Kata kunci : Bisma,wayang, karakter,etika jawa
Tayub as a Symbolic Interaction Medium in Sedekah Bumi Ritual in Pati Regency Suryani, Sisca Dwi
Harmonia: Journal of Arts Research and Education Vol 14, No 2 (2014): December 2014
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.v14i2.3291

Abstract

This study aims to find, understand, and describe the process of symbolic interaction in sedekah bumi ritual and the supporting symbols of Tayub as the symbolic interaction medium in the ritual. This study applies qualitative methods with the holistic approach. The research was conducted in Dukuh Guyangan, Desa Sidoluhur, Kecamatan Jaken, Kabupaten Pati. In collecting the data, observation, interview, and documentation technique were implemented. Further, the data were analyzed using the technique of data reduction, data presentation, drawing conclusion, as well as verification. The data was validated using the sources triangulation, the technique triangulation, and the time triangulation. Tayub as the medium of symbolic interaction realizes in four interaction processes, as follows: 1) symbolic interaction processes between the ritual actors and the spirits of ancestors reflected in kenduren procession held in punden, 2) symbolic interaction process between ledhek and pengibing that is embodied in ibingan, 3) symbolic interaction process between wiraswara and the audiences that is seen during the dance performance, 4) symbolic interaction process between pengrawit and ledhek that is reflected in the dance movements and the accompanying music. The meanings of symbol behind the ritual itself are reflected through the realization of symbolic interaction. It consists of three elements, as follows: 1) kenduren prayer, 2) offerings and ambeng, 3) Tayub dance.

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