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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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SENI SENI SPIRITUAL: Menyelam ke Dasar Pemikiran Seni Iqbal dan Schuan (The Spintualist of Arts, deep in thought of art of lqbal and Schuan)
Harmonia: Journal of Arts Research and Education Vol 4, No 1 (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.v4i1.703

Abstract

Kecenderungan relijiusitas dalam seni seyogyanyalah dipandang sebagai sebuah  realitas yang harus dilihat secara utuh. Sebab sesungguhnyalah antara seni dan  agama bertaut kuatpada kedalaman jiwa dan perasaan yang sangat indah, suatu  zona khusus di balik realitas alam ini. Sejujurnya memang harus diakui bahwa seni­seni keislaman belum banyak disentuh oleh para sen/man kita untuk diberi wama  seni secara tersendiri. Secara murni mereka masih dalam taraf pencarian atau  andaipun rona­rona itu telah mereka taburkan, barulah sekedar mengimbangi 'pihaklain' yang tidak diwarnai oleh nilai­nilai yang khas itu. Ataukah memang senyatanyaseni itu sesungguhnya merupakan 'wilayah tenarang'yang mana bolen dimasuki dan  dinikmati oleh sekelompok tertentu saja, sebab nyatanya hanyalah kaum sufi saja  yang telah secara berhasil menemukan keindahan ketuhanan „     melalui olah batin  mereka. Sastra sufi merupakan titik temu yang mempertautkan dunia seni dan  wilayah ketuhanan sehingga mampu memberikan sebingkai kepuasan puncak  keindahan dan kenikmatan keimanan. Mereka kaum sufilah yang secara menggema  telah mampu menggaungkan innallaha jamyi wa tuhibbu aljamaal sehingga  merekapun memiliki peran yang cukup penting dalam sejarah Islam, terutama dalampenyebaran agama Islam di berbagai belahan di bumi.Kata kunci: Seni, Filsafat, Filsafat Perenial, Spiritual.
Madurese Soap Opera: An Industry and Madurese Culture Migration of Situbondo People
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.v19i1.14951

Abstract

The purpose of this study is to describe a variety of research problems, including the industrialization of Madurese soap opera and the Madurese cultural migration of the Situbondo community. The results showed that Madurese soap opera is a product of cultural industrialization that is produced based on the logic of mass cultures. Such as standardization, commodification, and massification. Standardization is seen from the use of local artists, Madurese dangdut music, as well as local narratives built through local phenomena in Situbondo. Cultural commodification can be seen from the changing motive of drama arts (Al Badar) to VCD films (Madurese soap opera). As a commodity, Madurese soap opera has an economic motivation that is demonstrated in terms of massification; it is produced in 10,000 pieces and distributed to the local market within East Java. Madurese soap opera is a phenomenon of the disruption of global industrial technology captured by local communities, acting as a comparison to the national soap opera industry. The contestation can be seen through both abilities in using global technology, namely television. Local television has a big role in promoting local content such as Madurese soap opera. Madurese soap opera on local television eventually became a medium that could bring people closer to their Madurese cultural identity.
Taksu and Pangus As An Aesthetic Concept Entity of Bali Dance (A Case Study of Topeng Tua Dance) Mariasa, I Nengah
Harmonia: Journal of Arts Research and Education Vol 15, No 2 (2015): December 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.v15i2.4557

Abstract

There are two types of topeng drama performance (topeng is Bahasa Indonesia for mask) in Bali, Topeng Pajegan and Topeng Panca. Topeng Pajegan is a masked drama performance that is danced by a dancer by playing various tapel, while Topeng Panca is danced by five dancers. Generally, there are three or four stages on topeng performance, i.e. panglembar, petangkilan, bebondresan, and/or pesiat. On panglembar stage, there is one dance represented the character of old people. The dance is then known as Topeng Tua (Old Mask). The costume, tapel, as well as hair worn by the dancer have been considered as one of the precious or noble artworks. The question comes up here, is the aesthetics of topeng only depended on its high aesthetic value costume and tapel? Topeng Tua performance technique is considerably not easy to be done by a beginner dancer. On the other words, it implicitly tells that the aesthetics of the dance depends closely to the dancers’ techniques. A good Topeng Tua dancer will be able to dance by using the technique of ngigelang topeng. Furthermore, the beauty of Topeng Tua does not only lay on its splendor artworks on the costume, tapel, and hair colour, but more to the ability of the dancers’ movement technique that successfully shows the beauty of taksu and pangus.
PENGARUH TARI JAWA PADA TARI BALADEWAN BANYUMASAN
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.v11i1.2071

Abstract

Tradisi besar akan mempengaruhi tradisi kecil. Tari Jawa sebagai tradisi besar berpengaruh pada tari Baladewan Banyumasan sebagai tari tradisional kerakyatan dan sebagai tradisi kecil.   Pengaruh tari Jawa pada tari Baladewan dapat ditelaah melalui gerak tarinya.  Norma dasar menari pada tari Baladewan mempunyai kesamaan dengan norma dasar menari pada tari Jawa yaitu sikap kaki mendak, pupu mlumah, kaki malang, dada ndegég, perut ngempis dan pantat ditarik ke belakang.  Kategori tari Baladewan mirip dengan kategori tari Putera Gagah pada tari Jawa.  Pengaruh tari Jawa pada gerak tari Baladewan terdapat pada unsur-unsur gerak kepala, tangan, badan, dan kaki yang membentuk ragam-ragam gerak tari Baladewan. Unsur-unsur gerak tersebut mempunyai banyak kesamaan dengan unsur-unsur gerak pada tari Jawa. A big tradition will infl uence a small one. Javanese dance as the big tradition had some infl uence on Banyumas Baladewan dance as a traditional folk dance and the small tradition. The infl uence of Javanese dance on Baladewan dance could be identifi ed in its dance movement. The basic norms of dance in Baladewan dance have some affi nities with those of Javanese dance, namely kaki mendak (descending feet), pupu mlumah (lying thigh), kaki malang (crossed-legged), dada ndegeg (throwing out chest), perut ngempis (shriveling belly), and buttock pulled backward. The category of Baladewan dance resembles the one of Putera Gagah (sturdy son) dance in Javanese dance. The infl uence of Javanese dance on Baladewan dance movement is discernible in the movements of head, hands, body, and feet that shape the diverse moves of Baladewan dance. The moves have many affi nities to the ones in Javanese dance.
POPULARITAS SINDHEN
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.v9i2.637

Abstract

Apparently, the sindhèn life, today, have not been far from celebrities one or otherarties with many other styles and beautiful tricked performances. Therefore, it isnatural, that every sindhèn always wants to be popular, famous, and amazed bymany people with the result that they can do the ways to reach what they wantto. But, how to be a sindhèn, what trick to get to become a popular sindhèn, andhow to hold their existence so that they constantly get interest of wide society.The questions above will be answered in this article which is a research result ofpopular sindhèn in Semarang by using quantitative paradigm. First, the ways tobe a sindhèn has four factors, namely the way to learn, its surrounding, socialassociate, and laku brata. Second, the sindhèn popularity is appeared from theirhigh stage-performance (20 to 25 times per month), the stage area reach out ofprovince, quality of artistic trough their special style, having wide influentialsponsor, and getting compensation between four to five millions each their stage.Third, the ways of sindhèn to maintain their attractive power for society attentionare taken on such as : (1) maintaining pattern and increasing quality and itscharacteristic, namely trough the colour of their soft voices, making gregel andwiledan so that their voices always impress such as tregel, rongêh, renyah, and berakfor the listeners; (2) they must be self confidence in pesindhênan, there is no otherjob except the sindhèn , such as langgam, campursari, and keroncong dangdut; (3)they must plait together social relation to the people who have wide influence aswell as art organisations; (4) they always surrender to the god trough laku brataas their belief.Key word: sindhén, popularitas
Teaching and Learning Music in Digital Era: Creating Keroncong Music for Gen Z Students Through Interpreting Poetry Supiarza, Hery; Sarbeni, Irwan
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.v21i1.28585

Abstract

This study aims to examine the ability of ‘Z Generation’ students to interpret poetry. The z generation lives in the digital technology era where they tend to possess liberal and intelligent character. Poetry was chosen since this literature type has historical closeness to Keroncong music, especially in the Keroncong Stambul and Keroncong eras in the 1950s. The issue of Keroncong, whose development has been stagnant since the 1980s, is expected to trigger the Z generation to emerge a solution in the form of Keroncong music. The action research model used in this research was implemented through 6 stages: preparation, implementation, production, mixing and mastering, discussion and evaluation, upload, and publication. This project was applied to 33 students who were divided into five groups of 6 to 7 members each. Each group received a different poem. The project resulted in 5 Keroncong works and emerged a new Keroncong music genre called ‘Kroncongisasi Puisi.’ The study found that the learning achievements of the Z generation were achieved due to several factors: (1) their brilliant abilities in accessing various information digitally; (2) the digital age contains all the information they need; (3) their liberal nature makes them open to modernity. Regarding the process of creating Keroncong, the researcher found ten steps in the composting process: 1) interpretation, 2) composing song melody, 3) implementing the melody with accompanying musical instruments, 4) creating harmony framework, 5) practicing, 6) recording, 7) Mastering, 8) Shooting, 9) editing, 10) publishing. This study result was recommended to the Keroncong community, government, and education community.
Seni Postmodern dalam Wujud Konkretnya (Postmodern Art in a Concrete Form)
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.v6i3.815

Abstract

Seni Postmodern lebih tampak secara konkret sebagai seni adonan, namun bukanadonan dalam tataran kolaborasi. Adonan dalam corak postmodernisme selalumenonjolkan kelokalannya dan bahkan kelokalan itu digunakan sebagai ciriutamanya. Sebagai seni adonan, sekalipun kelokalannya ditonjolkan sebagai ciri,tetap saja kehilangan jiwa yang terdalam yang terdapat pada aslinya. Jiwa yangterdalam dari yang asli berbaur dengan seni massa yang dijadikan bahan dasar untukmewujudkan seni postmodern. Seni postmodern dapat populer karena dukunganmedia massa. Dalam banyak perbincangan dikatakan, seni postmodern ibarat wanitacantik namun kecantikannya hanya ada di wajah. la cantik karena bergincukan senimassa. Jiwanya tetap rapuh, nuraninya terbelenggu kefanaan, berseri namun tanpakedalaman makna.Kata kunci: postmodernisme, budaya massa, seni lokal, modern
Leadership characters in shadow puppet show
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.v17i2.7731

Abstract

Good leadership characters have been conveyed through the art of puppet. However, in practice, many of us have encountered the opposite fact. This study aims to analyze the leadership characters in the art of puppet. This research is a descriptive qualitative research which uses hermeneutical method to analyze the data gathered from the library research and field study. The data then passes data reduction step, data classification, and data verification. The results show that leadership characteristics in puppet can be formulated into five leadership concepts: (1) dwikridha, (2) tripakarti, (3) caturtama, (4) pancapratama, and (5) hasthabrata. If these five concepts of leadership are known, understood, and done well, our beloved country, Indonesia, will reach welfare together.
SHAMANISME: FENOMENA RELIGIUS DALAM SENI PERTUNJUKAN NUSANTARA
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.v13i2.2783

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.
KEMAMPUAN GURU SD/MI DALAM MENTERJEMAHKAN MATA FELAJARAN (SBK) SENI BUDAYA DAN KERAJINAN (The Ability of Elementary School Teacher in Translating Art Culture and Craft Subject)
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.v8i2.782

Abstract

Konsep pendidikan seni berbasis kompetensi untuk SD/MI, telahdiaktualisasikan dalam bentuk desain kurikulum pendidikan seni SD/MIdan telah diterbitkan oleh Pusat Kurikulum - Badan Penelitian danPengembangan Departemen Pendidikan Nasional. Harapan yang sangatbesar dengan dimunculkannya kurikulum tersebut. Selanjutnya dengandimunculkannya kurikulum tingkat satuan pendidikan pada mata pelajaranseni budaya dan kerajinan ini dipandang perlu untuk mengetahui sejauh manakemungkinan optimalisasi penerapannya dalam pembelajaran seni di SD/MIyang dapat mendorong creative thinking siswa, member! bekal life-skillskepada siswa, dan menciptakan suasana belajar siswa yang menyenangkan(jayfull learning) dengan memperhatikan kemampuan guru dalammenterjemahkan isi kurikulum berbasis kompetensi mata pelajaran (SBK)seni budaya dan kerajinan.Kata kunci: KTSP, SBK, Konsep Mata Pelajaran Seni

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