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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
 78   79   80   81   82 
KOMPETENSI KOREOGRAFER PENDIDIKAN BERBASIS IMTAK DAN IPTEKS ( Competence On Educational Choreography Based on Science Technologi and Spritual)
Harmonia: Journal of Arts Research and Education Vol 8, No 2 (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.v8i2.786

Abstract

Koreografer merupakan salah satu profesi yang" mulai diminati mahasiswa maupunalumni luhisan perguruan tinggi kependidikan. Sebagai koreografer yang lahir dariLPTK seharusnya memiliki idealisme dengan memperhatikan nilai-nilai pendidikandalam setiap karya tarinya. Pada perkembangannya "keharusan" dan "kenyataan" ini tidakmenjadi perhatian bagi koreografer pendidikan, sehingga orientasi terhadap moral danintelektual tidak lagi menjadi pertimbangan dalam berkarya tari. Untuk menjawabkesenjangan ini maka penulis mencoba menguraikan kompetensi yang harus dimilikikoreografer di lingkungan akademis , sehingga diharapkan dapat menyadarkankoreografer pendidikan untuk terus berkarya sesuai dengan gelar akademiknya yaitusarjana pendidikan, khususnya bagi mahasiswa yang memilih karya tari sebagaipenyelesaian tugas akhir.Kata Kunci : koreografer pendidikan, "nilai", imtak dan ipteks, etika, estetilka,kreatifivitas, "kebebasan".
Ismail Marzuki : Komponis Lagu-lagu Perjuangan (Ismail Marzuki : The Composer of Patriotic Songs)
Harmonia: Journal of Arts Research and Education Vol 7, No 3 (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.v7i3.740

Abstract

Sejarah musik Indonesia diwarnai dengan banyaknya lagu-lagu patriotik yangdigubah oleh beberapa komponis terkemuka, salah seorang di antaranya IsmailMarzuki. Ia mulai menggubah lagu pada usia 17 tahun, lagu “Oh Sarinah”merupakan lagu ciptaan pertamanya. Ia meninggal dunia pada usia 44 tahun Ia telahmenghasilkan tidak kurang dari 240 lagu sehingga membuatnya menjadi salahseorang dari komponis lagu-lagu perjuangan Indonesia yang sangat produktif.Sebagian besar karyanya mengungkapkan jiwa kebangsaan bagi perjuangankemerdekaan yang sangat tinggi. Sebagai seorang komponis, Ismail Marzuki tetapsetia pada perjuangan kemerdekaan negara, keselamatan rakyat, dan bangsa. Dalampengabdiannya pada Negara dan seni, Ismail Marzuki mendapat penghargaan nyatayang namanya telah terukir dengan tinta emas dalam Jakarta Art Center yangdibuka ditahun 1968 yang kemudian dikenal dengan nama Taman Ismail Marzuki.Ismail Marzuki punya peran penting dalam meneruskan jiwa patriotik bagiperjuangan kemerdekaan, yang berangkat dari profesinya sebagai seorang musisidan komponis.Kata kunci: Komponis, lagu-lagu perjuangan.
Creativity and Innovation of Artist in Maintaining and Developing the Songah Tradition Art
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.v20i2.25169

Abstract

Songah is one of the traditional arts originating from Citengah Village, Sumedang Regency. This art was formed from the creativity and innovation of the people of Citengah Village, Sumedang Regency to maintain the existence of traditional arts. Based on concern and love for their culture, the community continues to make reforms so that the existence of the songah art is maintained and can keep up with the times. This study aims to describe and analyze the creativity and innovation of society in utilizing existing natural resources as an effort to maintain and develop the songah traditional art. Through a qualitative approach and descriptive methods, the researchers reveal the creative process carried out by the people of Citengah Village in maintaining and developing the songah art. This study’s data were collected through observation, interviews, and strengthened by a literature review, which was then analyzed using descriptive qualitative techniques. The results showed that the creativity of the people of Citengah Village in maintaining and developing the songah traditional art can be seen in the aspects of natural resource management in the area. The community changed songong, which is a means of blowing fire in a furnace (Sundanese: Hawu), into an art tool called songah (songsong Citengah/songong kabungah). As a musical instrument having no tone, people who are members of the community collaborate songsong with other musical instruments to produce a unique musical composition. The development of the s art cannot be separated from the innovation of the community that collaborates songah with other musical instruments. This has a positive impact on the songah art so that it can be side by side and not less competitive with other traditional arts, including arts originating from abroad. Based on the results of existing research, the development of community’s creativity and innovation in maintaining the existence of art needs to be done continuously to anticipate being alienated and the loss of traditional arts.
The Geculan Bocah Dance Performance As A Creative Space for Children
Harmonia: Journal of Arts Research and Education Vol 19, No 1 (2019): June 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.v19i1.23617

Abstract

This study aims to analyze the creativity of children (dancers) in the Geculan Bocah dance performance and how the performance becomes a space to arouse creativity. The case study in this research was the phenomenon of the Geculan Bocah dance performance in Sanggar Tanuwiyoyo Semarang Regency. The method used is a qualitative research method through a phenomenological approach. Data collection was done by using the method of observation, interviews, and documentation. The data analysis test used the Miles and Hubberman model through data reduction, data presentation, and drawing conclusions. Data validity used triangulation of sources, techniques, and methods. The results showed that Geculan Bocah dance performance consisted of 3 parts, namely the beginning, middle (core) and final (ending). Each part of the performance requires the creative role of the child as a dancer. Children’s creative roles include individual creativity, collaborative creativity, and communal creativity. Individual creativity attempts every child to show good performance. Collaborative creativity can be seen in the cohesiveness and togetherness during the show. The communal creativity arises because it is influenced by the audience and the atmosphere of the performance. The Geculan Bocah dance performance is a creative product, a creative space/ process, and a driver for the development of children’s creativity.
Revitalization and Socialization of Daeng Dance in Purbalingga, Indonesia Anggraeni, Dinar
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.v15i1.3755

Abstract

The purpose of the study is to know and depict the revitalization and socialization of Daeng dance in purbalingga, Indonesia. This study used a qualitative method. The relevant techniques of data collection to the method are observation, interview, and documentation. The data obtained are analyzedusing three ways; they are data reduction, data display, conclusion and verification. The results showed that revitalizing Daeng dance occurred in its earliest performances, by means of innovating the foregoing Daeng dance without leaving its characteristics. The revitalization was done toward the dance’s motion, accompaniment, makeup, wardrobe, stage, sounds, lighting, and floor patterns, as well as there is a change in its function; as the media of spreading Islam in the past to nowadays just being an entertainment. After the process of revitalization, Daeng dance is then socialized through two ways of deployment; they are formal and informal processes. This dance’s socialization in this study occurs through direct performance and mass media. 
KACAPI SULING INSTRUMENTALIA SEBAGAI SALAH SATU KESENIAN KHAS SUNDA
Harmonia: Journal of Arts Research and Education Vol 11, No 1 (2011)
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.v11i1.1498

Abstract

Penelitian ini untuk mendeskripsikan jenis-jenis kacapi sebagai kesenian khas Sunda. Penelitian ini menggunakan pendekatan kualitatif deskripsif. Hasil penelitian menunjukkan bahwa ada macam-macam kacapi Sunda, yakni Kacapi Perahu, Kacapi Siter dan Kacapi Ritmik. Masing-masing kacapi memiliki fungsi seni, tergantung tempat dan waktu dimainkannya. Ada juga kacapi yang berfungsi sebagai hiburan. Kebanyakan kecapi dimainkan bersamaan yakni yang berfungsi sebagai melodi dan iringan. Yang termasuk kecapi ini adalah Kacapi Calempungan dan Wanda Anyar. Jenis kacapi lainnya adalah Kacapi Suling. Wanda Anyar merupakan perkembangan kecapi. Ini dapat dilihat dari pengemangan teknik dan komposisi.   Instrumental Bamboo Kacapi as One of Unique Art of Sundanese   Abstract This study was to describe the various kacapi as unique Sundanese arts. This study used a descriptive qualitative approach. The results showed that there are various kacapi Sunda, ie Boat Kacapi, Zither Kacapi and Rhythmic Kacapi. Each kacapi has the function of art, depending on the place and time played. There is also kacapi that performs as entertainment. Most kacapi that are played simultaneously ferform as melody and accompaniment. Which include these kacapi are kacapi Calempungan and Wanda Anyar. Other type is fl ute Kacapi . It is development of the kacapi.This can be seen from the development of techniques and composition. Keywords: kacapi suling, wanda anyar, fungsi pertunjukan kacapi, kesenian khas
MODEL PEMBELAJARAN TARI PENDIDIKAN PADA SISWA SD/MI SEMARANG
Harmonia: Journal of Arts Research and Education Vol 10, No 2 (2010)
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.v10i2.59

Abstract

The underlying problem of this study is what learning model of Educational Dance is used for elementary school students in Semarang. This study employs qualitative approach using library research, interview, and direct observation as the methods of data collection. The subject of the study is the learning model of educational dance at elementary schools in Semarang district. Data analysis was conducted through descriptive analysis method. The study shows that learning model used for educational dance at elementary school is explorative model using observation evaluation technique. The learning model includes: first, materials of movement lesson that covers body realization, mastery of basic movements, and movement development. Second, movements that reflect thought, feeling, and communication medium. Third, the direction of dance lesson covers aspects such as delight, creativity, communication, and aesthetics. Fourth, students’ character development that embeds in the learning process implicates in students’ attitude, such as the growing self-confidence, concern, tolerance, and responsibility. It is then concluded that the components of learning model of educational dance for elementary school, based on regulation number 19 article number 19 year 2005, are met in the explorative model because it shows the existence of dimensions that are interactive, inspiring, fun, challenging, motivating students to actively participate, and giving rooms necessary for initiative, creativity, and autonomy in accordance to students’ talent, interest, physical and psychological development. Kata kunci : model pembelajaran, tari pendidikan
Performance Assessment Through Motion Literation to Assess The Motoric Skill of Junior High School Students Based on Laban Notation Triana, Dinny Devi; Yudha, Rivo Panji
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.v21i1.29132

Abstract

Motor skills integrate physical functions and coordination between the brain as a center for information and control through visual activities (reading) and tactile (writing) movement symbols. Symbols and motion codes are found in labanotation, so the ability to read symbols and write symbol patterns is called motion literacy. It can be done through continuous assessment continuously in an effort to diagnose their abilities. The results of the study describe a change in the condition of students’ motor skills after intervention through labanotation-based motion literacy work assessment, namely the change in conditions from the intervention condition (B) to the final baseline condition (A’) decreases the students’ adaptability. However, at the final baseline condition (A’), the motor ability score improved better than in the phase before baseline (A). The total average score obtained in this condition was 62.86%. Thus it can be concluded that the effect of performance appraisal through motion literacy provides benefits for improving brain function because structured and programmed motion exercises are useful in stimulating various learning centers in the brain. This also impacts on improving motor skills in students to undergo the learning process at a later stage.
Penerapan Management Seni Pertunjukan pada Teater Koma (Management Aplication of Performing Art in Teater Koma )
Harmonia: Journal of Arts Research and Education Vol 6, No 3 (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.v6i3.810

Abstract

Teater Koma merupakan salah satu komunitas seni teater di Indonesia yang kreatif danproduktif, pencarian bentukbentuk inovatif yang selalu dilakukan, dan kerja keras dariseluruh para anggota. Kreativitas sangat mewarnai pada setiap hasil karya dan mencirikandengan gaya bahasa, gerak, musik, penjiwaan pada setiap karakter, dan tema yang diangkatbetorientasi pada kehidupan budaya keseharian. Kecermatan dalam usahanya mengangkattema menjadi perhatian utama melalui proses yang panjang dan melibatkan para aktormaupun aktris untuk terjun langsung di lingkungan sosial masyarakat yang menjadi objek.Semua proses dilakukan dengan penuh kesadaran bahwa pembelajaran maupunpembentukan diri menjadi aktor maupun aktris yang berhasil (berkualitas) perlu adanyapeleburan diri ke berbagai kehidupan sosial masyarakat. Peran utama seorang manajeryang sekaligus sebagai sutradara sangat menentukan, tampak adanya usahausaha untukkarya seninya. Manajer ahli dalam mengatur sebuah komunitas (Teater Koma) agar tetapeksis, satu visi, kebersamaan, keutuhan, satu tekat yang bulat. Sifat keterbukaan, caramemenegemen tentang; produksi, pemsaran, dan pergelaran menjadi bagian utamakehidupan organisasi.Kata Kunci: Seni, Managemen, Produksi, Pemasaran, Pergelaran
RELASI DUA KEPENTINGAN (BUDAYA POLITIK MASYARAKAT MINANGKABAU)
Harmonia: Journal of Arts Research and Education Vol 8, No 3 (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.v8i3.777

Abstract

Tulisan ini melihat relasi dua kepentingan yang ada di dalam masyarakat Minangkabaudidalam konteks budaya politiknya. Hal ini tidak bisa dilepaskan dari adat yang dianut olehmasyarakat Minangkabau itu sendiri, dimana peranan lareh atau ”aliran” yang ada sangatberperan besar dalam menentukan arah kebijakan yang diambil. Disini masyarakatMinangkabau secara garis besar terbagi atas lareh Koto Piliang yang dikembangkan olehDatuak Katamenggungan yang bercirikan ”aristokratis”, dimana kekuasaan tersusun pada stratasecara bertingkat dengan wewenangnya secara vertikal, sesuai dengan pepatahnya manitiak dariateh (menetes dari atas). Sementara lareh Bodi Caniago yang dikembangkan oleh DatuakPerpatih Nan Sabatang bercirikan ”demokratis”, dimana kekuasaan tersusun berdasarkan prinsipegaliter dengan wewenang bersifat horizontal, sesuai dengan pepatahnya mambusek dari bumi(muncul dari bawah). Namun demikian, adat sebagai aturan tidaklah bersifat kaku, bahkansebahagian besar mempunyai daya lentur yang amat tinggi dengan perubahan yang terjadi,apalagi walaupun mempunyai perbedaan sistem politik, namun keduanya tetap memiliki dasaradat yang sama yaitu sawah gadang satampang baniah, makanan luhak nan tigo, baragiahindak bacaraian (sawah yang luas cuma setampang benih, makanan orang ketiga luhak, salingmemberi dan tidak berceraian). Oleh sebab itu, akhirnya di setiap nagari cenderung akan terjadiproses ambil mengambil adat lareh yang ada melalui kelompok-kelompok suku dengan aktoraktoryang ada didalamnya.Kata Kunci: Lareh, Minangkabau, Dualisme, Adat.

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