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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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TARI SESAJI PANGENTAS BILAHI SUDRA TINGAL
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.v12i2.2518

Abstract

Tari sesaji Pangentas Bilahi ‘Sudra Tingal’ merupakan garapan baru yang ditarikan oleh sembilan penari putri. Gerak tari sesaji mengacu para tari bedhaya. Struktur tari sesaji dibagi menjadi tiga bagian yaitu maju beksan, beksan, dan mundur beksan.  Pada maju beksan penari bergerak dari pinggir menuju gawang pokok ke tengah Pedhapa Agung dengan pola gerak kapang-kapang, diiringi dengan Pathetan Vokal Putra Laras Pelog Nem  dan iringan beberapa intrumen gamelan berupa gender, rebab, gambang dan suling. Syair cakepan Pathetan digunakan untuk menggambarkan memuja ke agungan yang Maha Kuasa. Beksan pokok terdiri dari tujuh kesatuan gerak dengan berbagai garap iringan musikal seperti penggarapan gendhing Sekaten, Demung  Imbal merupakan penggambaran konflik batin antara situasi dan suasana yang terjadi. Gerak beksan pokok merupakan penggambaran tentang segala usaha manusia dalam mendekatkan diri kepada Sang penguasa Jagad Raya. Mundur beksan penari berjalan perlahan dengan pola gerak kapang-kapang dari Pendhapa Agung keluar arena pentas, dengan iringan gending ladrangan, sebagai ungkapan rasa syukur kepada Tuhan Yang Maha Esa. Tari dipentaskan dalam rangka wisuda sarjana seni dan magister seni Institut seni Indonesia Surakarta yang ke empat puluh enam. Sesaji Pangentas Bilahi Sudra Tingal dance is a new performance, performed by nine female dancers. The movement of Sesaji dance resembles that of Bedhaya dance. The structure of Sesaji dance consists of three parts, namely maju beksan, beksan, and mundur beksan. In maju beksan, the dancers move from the edge to central hurdle to middle Pendhapa Agung (Grand Ballroom) in Kapang-Kapang movement pattern, accompanied by Pathetan Vokal Putra Laras Pelog Nem  and traditional musical instruments such as gender, rebab, gambang and suling (bamboo flute). Cakepan Pathetan lyric is used to express the worship of God Almighty. Beksan Pokok consists of seven movement unity with several musical accompaniments such as gendhing sekaten, demung imbal to portray an inner conflict between outer situation and one’s inner atmosphere. The movement of main beksan is a description about human’s effort in coming closer to God Almighty. In Mundur beksan, dancers walk slowly in Kapang-Kapang movement pattern out of Pendhapa Agung to performance stage, accompanied by ladrangan gending, as a gratitude to God Almighty. The dance is performed in commemoration of the 46th graduation ceremony of Indonesian Arts Institute, Surakarta.
Skala Pengukuran sebagai Alat Evaluasi dalam Menilai Tari Karya Mahasiswa (Measurement Scale as Instrument of Evaluation in Assessing Student’s Piece of Dance)
Harmonia: Journal of Arts Research and Education Vol 7, No 2 (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.v7i2.680

Abstract

Paparan ini hanyalah sebuah wacana dan pemikiran yang mungkin dapat diterima, khususnya bagi para pendidik di institusi kependidikan, karena penilaian terhadap satu bentuk seni masih sulit diukur secara kuantitatif. Penilaian mata kuliah koreografi sebagai hasil  proses pembelajaran yang komprehensif bagi mahasiswa tari seringkali dirasakan sangat subjektif, bahkan keputusan  tim penguji tidak lagi melihat kepada produk yang dihasilkan sebagai penilaian performance, tetapi juga dipengaruhi oleh penilaian proses. Penilaian performance lebih kepada penilaian penampilan tari itu sendiri yang harus dipahami sebagai kesatuan bentuk atau gagasan kreatif yang divisualkan. Oleh karenanya dibutuhkan alat evaluasi sebagai pedoman observasi untuk penilaian tersebut, sehingga hasil akhir dapat  berupa nilai secara kuantitatif yang dapat mempengaruhi terhadap indeks prestasi mahasiswa dan tentu saja nilai performance dapat dipertanggungjawabkan. Pedoman observasi dengan skala pengukuran yang tepat dapat memperkecil pengaruh unsur subjektivitas dan sense of art penguji.   Kata kunci : Penilaian, Performance,Eevaluasi, Psikomotor, Skala Pengukuran
Three Characters Moulded in Music Education
Harmonia: Journal of Arts Research and Education Vol 18, No 2 (2018): December 2018
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.v18i2.12431

Abstract

Character building is an emerging issue in the education field. Character building in school is integrated through a learning process in each existing subject. Music education as one of the subjects in school, could mean to students’ character building. It could be done through various musical activities which can be experienced directly by the students, one of them is an ensemble. The goal of this article is to reveal characters that could be developed through music education, especially ensemble. This research was done in a public senior high school in Yogyakarta by choosing three samples based on Proportional Stratified Random Sampling technique. The data was gathered by using questionnaire based on Exploratory Factor Analysis and Confirmatory Factor Analysis techniques. Reliability was counted by using Cronbach Alpha and Variance Reliability formula. Also, descriptive quantitative is used as a data analysis technique in this research. The result shows that there are three characters molded through music education at school, they are “rasa” sensitivity, creativity and respect.
The Analysis of Meanings and Forms in The A.T. Mahmud’s Song Lyrics Ekaningrum, Prastiana; Suharto, Suharto
Harmonia: Journal of Arts Research and Education Vol 15, No 1 (2015): June 2015
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.v15i1.3691

Abstract

The purpose of this study is to describe the analysis of meanings in the A.T. Mahmud’s song lyrics. This research used the approach of music compositions and the language approach in semantics to find out the meanings of the lyrics. This research used content analysis techniques. The analysis includes two aspects; they are: (1) the analysis of the meanings of the song lyrics based on the language aspects; and (2) the analysis based on the aspects of the music compositions. The songs to be analyzed are Bintang Kejora, Pelangi, and Cicak. The lyrics of these songs indicate that in the process of creation, Mahmud focused on the beauty of the language, such as the diction, figure of speech, rhyme, and repetition. The songs use children words that correspond to the child's development, so that children understand and memorize easily. The songs created by A.T. Mahmud are mostly about daily life; the suitable themes for children’s characteristics and world. Based on the analysis in the music compositions, most of the songs form two parts and each part of the song consists of two phrases or sentences.
WARNA, GARIS, DAN BENTUK RAGAM HIAS DALAM TATA RIAS DAN TATA BUSANA WAYANG WONG SRI WEDARI SURAKARTA SEBAGAI SARANA EKSPRESI (The Coloring, Lines and Shape of Ornamental varieties in the Costume make Up of the Sriwedari Folk Opera “Wayang Wong” of Sura
Harmonia: Journal of Arts Research and Education Vol 2, No 3 (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.v2i3.860

Abstract

Wayang Wong Sriwedari Surakarta merupakan sebuah seni profesional yang telah lama hidup di tengah masyarakat kota Surakarta Berbagai hambatan dilalui dan beberapa lembaga telah mengelolanya sejak berdirinya pada tahun 1901 hingga sekarang. Pengaruh pola seni tradisi gaya Surakarta relarif kuat dalam seni pertunjukan ini terutama pada bentuk gerak, dialog/antawacana, tembang, tata rias dan tata busananya. Untuk mewujudkan ekspresi suatu karakter tokoh didukung pula dengan tata rias wajah, tata rias busana. Kehadiran tata rias wajah dan tata rias busananya berhubungan erat dengan pilihan seniman terhadap warna, garis dan ragam hias. Warna yang menyala, garis yang tegas ragam hias dengan corak yang besar biasanya digunakan untuk tata rias wajah dan tata rias busana bagi tokoh yang berkarakter gagah, seperti Bima. Sebaliknya warna yang lembut, garis tumpul dan ragam hias yang cenderung bermotif kecil digunakan untuk tata rias wajah dan tata busana bagi tokoh yang berkarakter halus seperti Arjuna dan sebagian besar tokoh wanita seperti Bratajaya, Durpadi. Kata kunci : Warna, Garis dan Ragam hias, Wayang Wong, Ekspresi
Rantaya Gagah sebagai Dasar Pembentukan Sikap Penari Gagah (Rantaya Gagah as a Basic of Attitude Formation in Gagah Dancers)
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.v7i1.749

Abstract

Rantaya gagah merupakan salah satu bentuk tari dasar Jawa gaya Surakarta.Rantaya memberikan bekal, sikap bagi calon penari. Peran yang dapat dirasakanyaitu dalam rangka pembentukan sikap kepribadian penari yang profesionalsangat memerlukan pengetahuan maupun keterampilan teknik dasar. Penguasaanbekal teknik dasar akan memberikan lebih banyak penjelajahan gerak untukmenuju proses kreatif. Kreativitas mensyaratkan pemahaman terhadap totalitastari tradisi melalui unsur-unsur terkecilnya. Rantaya meliputi dua hal yaitulatihan teknik dasar gerak dan koordinasi iringan. Rantaya dilihat darikepentingan proses pembelajaran tari ada manfaat langsung dan tidak langsung.Manfaat secara langsung dari segi gerak penari dapat melakukan dengan benardan ini merupakan bekal utama yang bisa dianggap cukup dalam penguasaanbentuk wadag. Manfaat tak langsung dimungkinkan sebagai bekal dasar untukmengembangkan kreativitas sebagai seorang penari berkualitas dan profesional.Kata Kunci: Rantaya Gagah, Tari, Sikap.
Mangkunegaran dance style in the custom and tradition of Pura Mangkunegaran
Harmonia: Journal of Arts Research and Education Vol 17, No 2 (2017): December 2017
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.v17i2.12128

Abstract

Mangkunagaran dance style is regarded as a cultural identity that is highly upheld by Mangkunagaran’s society. In the organization that lives in Mangkunagaran, the sustainability of Mangkunagaran dance style is protected by the special art institution namely Langen Praja, under a bigger organization in Mangkunagaran namely Reksa Budaya. The existence of Mangkunagaran dance style is in fact related to the custom and tradition in Pura Mangkunagaran. The aim of this research is to find out how Mangkunagaran dance style is and what kind of roles that Mangkunagaran dance style has that may influence the custom and tradition in Pura Mangkunagaran. Methods used in this research is qualitative. Techniques of data collection used were observation, interview, and documentation study and the data validity technique implemented was data triangulation. Meanwhile, the data was analysed by using text analysis towards the Mangkunagaran dance style and the context analysis towards the role of Mangkunagaran dance in the custom and tradition had by Pura Mangkunagaran.
MAKNA SIMBOLIK TARI BEDHAYA TUNGGAL JIWA
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.v13i2.2778

Abstract

Bedhaya Tunggal Jiwa merupakan  elemen penting dalam upacara Grebeg Besar. Pada penelitian ini fenomena yang menarik untuk dikaji (1) Mengapa tari Bedhaya Tunggal Jiwa dipertunjukkan, (2) Bagaimana bentuk pertunjukan, dan (3) Apa makna simbolik yang terkandung pada tari Bedhaya Tunggal Jiwa. Di dalam memahami fenomena yang terjadi pada Bedhaya Tunggal Jiwa, penelitian ini menggunakan metode kualitatif untuk menggali berbagai data lapangan dalam menjelaskan mengenai persoalan yang terjadi. Perolehan data lapangan itu kemudian diolah dan dituliskan dengan metode deskriptif analisis dengan pendekatan etnokoreologi. Bedhaya Tunggal Jiwa merupakan salah satu unsur budaya masyarakat Demak, yang dipertunjukkan sebagai bagian dari rangkaian upacara tradisi Grebeg Besar di Kabupaten Demak. Kehadirannya sebagai kebutuhan estetis manusia serta menimbulkan keserasian manusia dan lingkungannya. Unsur yang ditampilkan pada pertunjukan Bedhaya Tunggal Jiwa terdiri dari beberapa eleman di antaranya: penari, gerak, pola lantai, musik, rias, busana, properti dan tempat pementasan.  Hasil penelitian menunjukkan bahwa makna simbolik Bedhaya Tunggal Jiwa sebagai gambaran menyatunya pejabat dengan rakyat dalam satu tempat untuk menyaksikan tari Bedhaya Tunggal Jiwa sehingga tampak sebuah kekompakkan, kedisiplinan dan kebersamaan langkah untuk menggapai cita- cita. Unsur-unsur simbolik ditunjukan pada peralatan yang digunakan dalam rangkaian upacara, tindakan yang dilakukan penari, arah dan angka,  integritas dan sosial kemasyarakatan. Makna simbolik terdapat pada gerak, pola lantai, kostum, iringan tari, dan properti yang sesuai dengan kondisi sosial budaya Kabupaten Demak. Keseluruhan menggambarkan kegiatan hubungan vertikal dan horisontal umat manusia. The Bedhaya is the important element in Grebeg Besar ceremony. In this research, the phenomenon that will be interesting to be studied are (1) Why Bedhaya Tunggal Jiwa dance is showed?, (2) How the pattern of the show is?, and (3) What the symbolic meaning of Bedhaya Tunggal Jiwa dance is?. In understanding the phenomenon happened in Bedhaya Tunggal Jiwa, this research applies the qualitative method to discover all the field data in explaining the problems occur. The result of field data, processed and written in descriptive analysis method etnokoreologi approach. That approach is done by textual and contextual analysis. The textual study, can lineout or describe in detail about the structure in Bedhaya Tunggal Jiwa dance, while the contextual study can reveal socio-cultural condition the residents in Demak regency. Bedhaya Tunggal Jiwa is one of the cultural elements in Demak society that is showed as a part of series traditional ceremony Grebeg Besar in Demak regencey. The presences human aesthetic need and also create the harmony of human and their environment. The performance of Bedhaya Tunggal Jiwa consists of several elements, including: motion, floor pettern, music, make up, clothing, properties and place of performing that overall is simple. The research result shows that Bedhaya Tunggal Jiwa is understood as teaching of life that cantains togetherness, unity and discipline to archive the useful purpose of live individually or in group. The symbolic meaning is contained in motion, floor pattern, costume, dance accompaniment, and properties that appropriate with the socio-cultural condition in Demak regency. The symbolic elements showed in the equipment that is used in the ceremonial series, the dancer actions, directions and number, integrity and social. The whole show vertical and horizontal relation activities of human being.
MENULUSURI SARANA PENYEBARAN MUSIK KRONCONG (EXPLORING A DISSEMINATION MEDIUM OF KERONCONG MUSIC)
Harmonia: Journal of Arts Research and Education Vol 6, No 2 (2005)
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.v6i2.721

Abstract

Keberadaan dan keberlangsungan musik keroncong di Indonesia hingga kini masih tampak jelas sebagai suatu genre musikal yang menjadikan tipikal musik Indonesia. Menyimak pada tahun 1920-an musik keroncong sudah mendapat tempat di hati masyarakat, selain itu lagu-lagu keroncong pun sudah menyebar luas dan digemari masyarakat luas, kendatipun pada waktu itu perbendaharaan lagu-lagu keroncong masih kurang. Dengan demikian persoalan tersebut tak lepas dari suatu proses penyebaran dengan melalui berbagai sarana yang ada. Musik keroncong yang semakin terjaga keberadaannya, berkembang pada berbagai aspek musikal, serta meluas daya jangkaunya. Oleh karena itu ada beberapa peran sarana penyebaran yang ditelusuri, yaitu pola penyebaran melalui: (1) lomba musik keroncong; (2) media cetak; (3) media rekam; (4) radio dan televisi; (5) layar lebar; (6) pementasan; (7) pertumbuhan kelompok orkes keroncong.Kata kunci: penyebaran, musik keroncong
Entrepreneurship and Art Education Tourism: A Study on Results of Management Skills Training Program for Students
Harmonia: Journal of Arts Research and Education Vol 19, No 2 (2019): December 2019
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.v19i2.22674

Abstract

Entrepreneurship, in the context of the development of art education tourism programs in higher education, is regarded as a serious concern in reflecting the role of universities in developing the tourism industry. This is considered as the universities’ efforts of innovation and creativity to improve the competitiveness of higher education goals through the development of entrepreneurship in the field of educational tourism. This paper discusses the role of tertiary institutions in developing educational tourism entrepreneurship, which in its implementation empowers potential students by providing entrepreneurship training for them to be able to manage art education tourism program events. The data were obtained by test and questionnaire were given to 30 students at Universitas Pendidikan Indonesia who were involved in the activities of entrepreneurial training programs in the management of tourism education through the art business. The program was established by cooperating with universities, the local government, as well as non-governmental institutions.

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