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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
 69   70   71   72   73 
8Th Century Musical Instrument on Kalasan Temple’s Relief Pradoko, Susilo; Widyastuti, Maria Goretti; Fu'adi, Fu'adi; Walidaini, Birul
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.v21i1.28530

Abstract

This research aims to unveil the types, size, figures, and functions of musical instruments carved as reliefs of Kalasan Temple as a way to revitalize the music from the 8th century. This research implements heuristic methods with Panofsky's iconology analysis in three steps, which are pre-iconography, iconography, and iconology to analyse the reliefs of the Temple. The researchers validated the findings through forum group discussion with the Cultural Heritage Preservation Board of Yogyakarta. The findings show that (1) the relief of musical instruments in Kalasan temple is located on the head of Kala; (2) the musical instruments on the head are two wind instruments made of shells and a stringed instrument named vina; (3) there are two figures of musicians carved, which are two wind instruments players and a player of stringed instruments. The figures are depicted as heavenly creatures named Gandharva; (4) the measurement shows that the wind instruments have 35.98 cm length and 12.85 cm width, another one has 23.13 cm length and 12.85 cm width. Meanwhile, the stringed instrument has a length of 92.52 cm and 12.85 cm width; and (5) the musical instruments were performed to worship the Goddess of Tara.
Critical View on The Existence of Gambus Tunggal Lampung: Promoting Collaborative Working Between Artists and Stakeholders Tejapermana, Prisma; Hidayatullah, Riyan
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.v20i2.25144

Abstract

The Lampung societies have many arts and cultures, one of which is a gambus tunggal. The characteristic of gambus that are played solely and has an original tuning system. A gambus tunggal style produces a melodic tone, accompanied by chanted poems that involve new romantic romance of Lampung, or parents’ advice to their children. This ethnography study aims to comprehend how the gambus tunggal artists maintain the existence in Lampung. The study applies a descriptive method with a qualitative idea. We have interrogated and field studies to gather primary data. A purposive sampling technique was used to interview a gambus tunggal player who existed for decades. The result indicates that a gambus tunggal artist is doing a collaborative struggle to support gambus tunggal and living sources’ survival. They need collaboration to keep the existence of traditional Lampung music. Gambus players have considered using social media as a promotional strategy. The local government’s role has a tremendous impact, for example, providing an opportunity to perform gambus tunggal at various events, festivals, and many competitions. Therefore, the tourism sector is the foundation of Lampung’s traditional music. It establishes policies to serve various performing arts.
The Jaipongan Drumming Strokes in Lagu Gedé in Sundanese Gamelan Saepudin, Asep; Yulaeliah, Ela
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.v21i1.28206

Abstract

This paper aims to describe the Jaipongan drumming strokes in Lagu Gedé. Lagu Gedé is a type of song in Sundanese Karawitan that has a large embat (rhythm). This song includes a dish of drums vocals accompanied by gamelan pelog-salendro with characteristics that have tone, barrel, surupan, embat, gending, slow tempo, embat opat wilet, and bound by the standard rules. Observations were made by appreciating Jaipongan’s performances in Bandung and Karawang. Besides, the author conducts interviews with several primary informants who are directly involved in the arrangement of Jaipongan. Gedé’s point here is to look at it with a smooth, soft, slow serving. The Kiliningan genre has a specific punch motif name for Gede’s song.  The name of this variation is called tepak melem. Melem has a delicious or gentle meaning. Tepak melem to accompany Sekar Gending songs in Kiliningan genre. The phenomenon that happens that Lagu Gede is served in Kiliningan dish and used to attend Jaipongan dance. When Jaipongan’s work uses Gedé’s song, it generates innovations. Gedé’s song is no longer presented with a glued drum but with a tepak diteunggeul. Diteunggeul contains the meaning of being hit hard, powerful, dynamic, and fast. This research concluded that jaipongan drumming strokes in Lagu Gedé is realized that drummers and dancers must explore many spaces because it has the freedom to work. After all, they present it in an embat opat wilet (big rhythm). This affects the widening of the number of beats, the position of kenongan, pancer, and gongan. Artists have the freedom to do creativity in working on Gede’s songs.  The space of artists in their work can ultimately foster new creativity that impacts the growth and development of Sundanese karawitan.
Percussion Pattern of Terebang Gede in Panggung Jati Studio, Panggung Jati Village, Serang Suhaya, Suhaya; Rachman, Abdul; Sinaga, Syahrul Syah; Alfayad, Dandi Musa
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.v20i2.18067

Abstract

The characteristics of a region become an identity that is certainly inseparable from the noble values it adheres to, including religious values as the foundation for the formation of art of terebang gede in the Panggung Jati studio, Panggung Jati village, Serang, Banten. This study aims to describe the percussion patterns in the art of Terebang Gede both in text and context by using a qualitative paradigm with descriptive analytical methods. As a highlighted theory, ethnomusicology is used to analyze the existence of music in a culture, both from physical aspects and socio-cultural aspects. The data collection technique is done by interview, documentation study, and literature study. The data analysis stages are carried out in the order of data collection, data reduction, data organizing into a pattern, category, and description into basic descriptions that lead to the concluding process. The results showed that the percussion pattern of terebang gede is very simple. The percussion patterns on all existing musical instruments, such as the musical instrument of koneng, kempul, penganak (bibit), interlude, and bass (terebang gede), still follow the framework of the percussion “standard” which is hereditary from previous generations. Until now, this accompaniment without the development of rhythmic variations has been used to accompany syair or sholawat Al-Barzanjiwith with tones of Sundanese-style songs of the salendro type. Changes in accompaniment were not made because this performance was only performed on special occasions for Muslims to broadcast and support worship which was not intended as entertainment music.
The Non-Aesthetic Aspect of Mangkunagaran-Style Dance: Study From The Perspective of Social Context Malarsih, Malarsih; Utina, Usrek Tani; Bisri, Moh Hasan
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.v20i2.23410

Abstract

This study aims at analyzing the non-aesthetic aspect of Mangkunagaran-style dance from the perspective of its social context. The method employed in the study is interpretative-descriptive qualitative. The approach used social culture to analyze the perspectives. The research was conducted in Pura Mangkunagaran, with the focus of research lies on the non-aesthetic aspect of Mangkunagaran-style dance taken from the perspective of its social context. Techniques for collecting data was an observation, interview, and documentation study. The data validity mainly used data triangulation. Results show that from the perspective of social context, the Mangkunagaran-style dance is divided into four major social functions, i.e., the social order for integration, the function of expression, the function of entertainment, and the function of Psychiatric, Aesthetic, and Economic. These for main social functions are taken part in the existence of Mangkunagaran-style dance in Pura Mangkunagaran and wider communities.
Mapping Constraints of Art Extracurricular in Indonesia as An Effort of Policy Design Herdiati, Dian; Saputra, Dani Nur
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.v21i1.26480

Abstract

Extracurricular arts programs are an integral part of instilling character qualities in students. This research aimed to map out the constraints to extracurricular arts in elementary schools in Indonesia. To achieve the goal, this research looks at government initiatives aimed at enhancing the standard of arts extracurricular activities in elementary schools across the Country, which were carried out from 2013 to 2019. The method used in this study is a qualitative method with a participatory observation approach. They were collecting data using participatory methods, observation, and guided discussion. This study’s results indicate that schools’ various obstacles in implementing extracurricular programs, ranging from the availability of competent teachers in the arts, funding constraints for trainers, and the existence of regional autonomy. This constraint mapping is very useful for designing policies and extracurricular programs that are appropriate for schools.
Bach and Busoni Essentials in A Chaotic World Lee, Seow Phing; Ooi, C. H. Raymond; Cheong, Ku Wing
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.v21i1.30152

Abstract

The study analyses the manifestation of structural change from the Bach Violin Chaconne (BWV1004, c.1720) to the Bach-Busoni piano transcription (c.1897). This article explores the use of two-dimensional music abstraction for vertical (pitch height) and horizontal (time) and its signal insignificant identified bariolage sections in music. Bariolage excerpts are chosen for they are implied sounds captured in repeatability and recontextuality. The first part of the article offers an excerpt of the Bariolage from violin at bars (113-120) and its parallel piano transcription at bars (118-125). Significant expressions of registral change utilizing different voice parts (Soprano, Alto, Tenor) offer a wider expansion with piano. These excerpts were chosen after reviewing the original Bach Chaconne and its essentials in analytical aesthetics for the projection of beauty in symmetry-asymmetry-chaos in composition. This study captures the aesthetics of the beautiful from the original score of the violin Chaconne at (bars 89-96) and (bars 113-120) for Bach-Busoni piano transcription. Further, there are recommendations for future studies to explore vertical spaces and mathematical sequences embedded in the music in other sections. The findings of this study were implied through new music analytical formats to be applied in composition, pedagogy, and performance practice. 
The Concept of Balance at Sekati Ririg Gending in Tejakula, Buleleng Regency Aditya Putra, I Ketut; Santosa, Hendra; Sudirga, I Komang
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.v20i2.25412

Abstract

This study aims to determine the concept of balance found in playing techniques, tempo, and dynamics (ngumbang-ngisep) at Sekati Ririg Cenik gending in Tejakula, Buleleng Regency. The research is focused on the presentation using the barungan of Gong Kebyar gamelan, because at the time of handling the beginning observation, it was presented to accompany religious ceremonies at Pura Maksan Tejakula. This research is a qualitative study using several data collection techniques; observation, interviews, documentation, and literature. The approach used is a musicological approach using aesthetic theory. The results obtained from this study are the concept of dualism balance in terms of some of the forming elements in it, such as playing techniques on instruments pemade, kantilan, trompong, reyong, and ceng-ceng kopyak. These are some of the instruments that use the polos-sangsih system in their playing. Playing Technigue usually play parallel to the tempo, while playing technique sangsih is still playing against the tempo. Furthermore, the concept of balance at tempo can be seen from the speed with which gending Sekati Ririg Cenik is presented. The presentation begins with a slow tempo, then after several repetitions of the gending the tempo slowly changes to faster until it reaches the end of the gending, and the tempo is again set to slow. Likewise with the concept of dynamic balance which can be viewed from the loudness of the musical presentation. Setting the tempo and dynamics is intended to achieve balance and will not cause boredom in the presentation. These three things can be implemented in the Gong Kebyar gamelan instrument which is used as a medium in presenting Sekati Ririg Cenik gending by the community in Tejakula Village.
Preserving Gambang Semarang Music Through The Process of Enculturation in The Society Raharjo, Eko; Soesanto, Soesanto; Rohidi, Tjetjep Rohendi; Utomo, Udi
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.v21i1.27722

Abstract

This study was devoted to investigating the preservation of gambang Semarang music through the enculturation process comprehensively. Two basic strategies were employed in examining research problems: using theoretical approaches in traditional music, preservation, and enculturation and a qualitative approach. Further, the target and site comprised gambang Semarang music preservation through the enculturation process among Semarang people. The data were collected from observation, interviews, documentation, and library research. Data validity applied source, time, theory, and researcher triangulation. The collected data and information were then analyzed inductively by relying on an interactive analysis model with the following steps: data reduction, display, and verification. It was suggested that the enculturation process of gambang Semarang music within three generations in the nang nok gambang Semarang group served as the activity of cultural awareness of society, artists, and performers. It was to carry out the enculturation process towards young generations, even children, as the future generations. The approaches to the teaching and learning process were modeling, conditioning, and internalization. Such an enculturation process was proven to function effectively as the cultural mechanism and enculturation model in preserving gambang Semarang music as the cultural identity of Semarangan.
Mixed Choir and Instruments in the Composition of the Worship Music of the Stations of the Cross Hananto, Paulus Dwi; Sukerta, Pande Made
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.v20i2.24843

Abstract

The station of the cross is an event of the Passion story of Jesus Christ carrying the cross from the Pilate’s palace to the hill of Golgotha. On that journey, Jesus endured torture and humiliation, both from Roman soldiers and Jews. Based on this story, the objective of the research is to describe the process of developing a new compositional composition based on the story of the journey in the format of a choir and a musical ensemble. The research method used in this research is descriptive qualitative. Data collection was carried out through observation, interviews, and documents. After all data has been collected, the next process is to determine the use of scales, instrumentation, and composition based on rhythmic and melodic motifs, time signature, key signature, tempo, and composition of song texts. The choice of musical signs is adjusted to the meaning of the lyrics used. The composition of the Song of the Station of the Cross which is composed is a combination of a mixed choir consisting of soprano, alto, tenor, and bass with a musical ensemble. The novelty of the composition of the Song of the Station the Cross lies in the use of the style of baroque passions (1600-1750), aria, and recitative combined with modern harmonies, namely the use of the seventh tone, the ninth tone, and the thirteenth tone of a chord, and the use of Indonesian as the whole text of the composition

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