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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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MUSIK SEBAGAI FAKTOR PENTING DALAM PENERAPAN METODE PEMBELAJARAN QUANTUM (MUSIC AS IMPORTANT FACTOR IN APPLICATION QUANTUM LEARNING METHOD)
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.v6i2.681

Abstract

Musik adalah seni yang paling abstrak sekaligus juga merupakan realitas fisika bunyi yang memilik banyak keunggulan untuk membantu pendidikan watak halus seseorang. Ia telah banyak dikaji oleh para pemikir, kaum agama, pendidik, dan teoretikus seni; selain sebagai seni ia banyak digunakan untuk berbagai keperluan mulai dari tradisi, adat, hiburan, maupun pendidikan. Pasca Perang Dunia ke-2 telah terjadi perkembangan yang menarik dalam dunia pemikiran yang mengadobsi temuan fisika baru yang disebut Quantum. Metode Pembelajaran Quantum telah berhasil mengadobsi prinsip-prinsip baru fisika quantum ke dalam metode pembelajarannya yang menempatkan musik sebagai salah-satu faktor penting.   Kata kunci: Paradigma, Perspektif, Quantum, Metode, Musik.
Innovation of Suminten Edan Stories by Ketoprak Wahyu Manggolo Pati
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.v18i2.12435

Abstract

This research aims at discovering the innovation performed by artists of people’s theatre to the stories which have been a tradition and commonly known to the audience. This research uses a qualitative-descriptive approach, focusing on the performance of Sumonten Edan (SE) story by a ketoprak group Wahyu Manggolo Pati. In performing the story, despite being bound by the basic norms of performance known as pakem, Suminten Edan story is performed with some modifications to show innovations. These innovations include both the story and performance aspects.
Aesthetics of Prajuritan Dance in Semarang Regency Jazuli, Muhammad
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.v15i1.3692

Abstract

The scarcity of aesthetic study of traditional arts has evoked my intention to promote a model of aesthetic study in dance performance. The focus of this research is the aesthetics of Prajuritan dance in Semarang  regency. The aesthetics were founded on dance choreography and cultural value systems, which grow and develop in the community of Semarang regency. Dances choreography includes dance background, form, shape, theme, number and formation of dancers, moves, musical accompaniment, make-up and costume, and dance floor patterns. Cultural value systems include communicating stories, expressed symbols, function and meaning of Prajuritan dance for its supporting community. The stories were derived from the heroic tale of Prince Sambernyawa (KGPAA, king Mangkunegara I in Mangkunagaran royal palace, Surakarta) when he rebelled against the arbitrary Dutch colonialists, with his famous spell, “tiji tibeh (mukti siji mukti kabeh – being prosperous for one and all)” and Three Dharma of soldiers, namely “rumangsa melu handarbeni, melu hangrungkebi, mulat sarisa hangrasa wani, which means having sense of belonging, protection, and awareness to bravely do whatever to defend  his nation and country. Therefore, Prajuritan dance brings the mission to evoke sense of courage, discipline, and responsibility for the young generation.    
PERUBAHAN GARAP PEDHALANGAN WAYANG KULIT PURWA GAYA SURAKARTA DEWASA INI (The Present Change in the Arrangement of Classical Leather Pupperty “the Surakarta Style)
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.v2i3.861

Abstract

Pertunjukan wayang kulit purwa gaya Surakarta dewasa ini ternyata mengalami perubahan, baik yang menyangkut bentuk pertunjukkan, perlengkapan yang digunakan, maupun susunan atau tata panggung. Perubahan-perubahan yang terjadi meliputi: penataan panggung, penambahan jumlah instrumen, garap catur meliputi dialog wayang, janturan dan pocapan, sabet meliputi gerak-gerak wayang, iringan meliputi gendhing-gendhing karya baru, boneka wayang meliputi bentuk-bentuk desain  wayang baru. Terjadinya perubahan dalam pertunjukkan wayang dikarenakan adanya faktor internal dan faktor eksternal. Faktor internal pada urnumnya datang selalu ingin mendapat tanggapan, karena mereka hidupnya mengandalkan dari hasil pentas, sehingga bentuk pekelirannya selalu melayani selera penonton. Selain itu bahwa seniman dalang sebagai makhluk individu ingin selalu mengaktualisasikan dirinya, maka terdapat kecenderungan dalam pekeliran terdapat inovasi-inovasi yang menyimpang dari tradisi. Faktor eksternal pengaruh dari perubahan teknologi, perubahan sistem sosialdan perubahan sistem nilai. KataKunci: Faktor Perubahan, Garap Wayang kulit
Telaah Karakterologi dan Etika Tokoh Bisma dalam Pewayangan Jawa (Charachterologi and Ethic of Bisma Figure in Javanes Pupetry)
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
Community identity politics of Brijo Lor society, Klaten in Ki Ageng Glego myth through Reog performance
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.v17i2.12060

Abstract

This research is aimed to describe community identity politics of Brijo Lor society, Klaten in Ki Ageng Glego myth through Reog performance. The research questions are how is the community identity politics in Brijo Lor society, and what is the relationship between the identity politics with Ki Ageng Glego myth through Reog performance? The research approach used is qualitative. Data collecting technique was obtained by these ways: observation, documentation, literature, and interview. Data analysis was conducted by: data collection, data reduction, data diagnose, and conclusion. To ensure the validity of the data, the researcher conducted triangulation. The result of this research proposed that community identity politics in Brijo Lor society in preserveing Reog is a strategy to maintain traditional art for many other traditional arts are extinct. Reog performance conducted regularly is a mediationof the society who ngalap berkah (beg for blessing) to Ki Ageng Glego spirit. When Reog is performed, Ki Ageng Glego spirit descends upon the world. Many people come to watch Reog because they want to get blessing for the descend of Ki Ageng Glego spirit. Ki Ageng Glego myth became an identity political way of Brijo Lor society through Reog performance.
SEJARAH MUSIK SEBAGAI SUMBER PENGETAHUAN ILMIAH UNTUK BELAJAR TEORI, KOMPOSISI, DAN PRAKTIK MUSIK
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.
MOTIF KAWUNG SEBAGAI SIMBOLISME BUSANA PARA ABDI DALAM WAYANG KULIT PURWO GAYA SURAKARTA (SIMBOLISM MOTIVE KAWUNG OF FASHION COMUNITY ON WAYANG KULIT PURWA SURAKARTA STYLE)
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.v6i2.722

Abstract

Penelitian ini bertujuan untuk mengkaji tentang latar belakang budaya dalam penggunaan motif Kawung, jenis-jenisnya, makna simbolisme serta keterkaitan status, kedudukan dan karakter tokoh abdi dalemdalem wayang kulit purwa gaya Surakarta, dan penelitian ini berbentuk kualitatif dengan pendekatan hemeneutik untuk menghasilkan berbagai interpretasi. Sumber data berupa penjelasan dari informan tentang karya seni batik dan pewayangan, peristiwa seni pertunjukan, arsip dan dokumen. Pengumpulan data dilakukan dengan wawancara, observasi, serta untuk mendapatkan validitas data, maka dilakukan triangulasi data. Semua informasi yang diperoleh dianalisis dengan menggunakan cara analisis interaktif. Hasil penelitian diperoleh bahwa; surutnya kekuasaan secara politik dan ekonomi mengakibatkan pengembangan budaya keraton sebagai sarana legitimasi kekua-saan raja dalam masyarakat pendukungnya. Sehingga seni busana keraton juga termanifestasi ke dalam wujud busana wayang kulit purwa gaya Surakarta. Salah satu wujud busana tersebut berupa motif batik Kawung yang digunakan oleh para abdidalem dalam pewayangan. Tiap-tiap jenis motif Kawung memiliki makna simbolisme sesuai setatus, kedudukan serta karakter dari tiap-tiap tokoh wayang tersebut.Kata Kunci: Batik, Motif Kawung, Wayang, Simbolisme.
The Concept of Panutan in Governance Festival Lima Gunung in Magelang Central Java Indonesia
Harmonia: Journal of Arts Research and Education Vol 20, No 1 (2020): June 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.v20i1.24818

Abstract

This research is based on fieldwork at a Five Mountain Festival held in Magelang, Central Java, Indonesia. This festival presents performing arts in the regions of Mount Merapi, Merbabu, Andong, Menoreh, and Mount Sumbing. This study intends to explain the concept of panutan in festival governance. Modeling is a significant factor in keeping the Five Mountain Festival alive and sustainable. This study suspects that panutan are one of the guardians of the existence of the Five Mountain Festival. Issues discussed are related to how the panutan concept works, as well as knowing how the implications resulting from the use of the panutan concept in festival governance systems. This study uses qualitative methods with analytical descriptive analysis. Research data were collected through literature studies, documentation studies, interviews, and field observations. The results showed that panutan as organic intellectuals not only created new forms and processes of festival governance but also resulted in the achievement of the advancement of village culture.
Banyumasan Songs As Banyumas People’s Character Reflection Suharto, S.; Sumaryanto, Totok; Ganap, Victor; Santosa, Santosa
Harmonia: Journal of Arts Research and Education Vol 16, No 1 (2016): June 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.v16i1.6460

Abstract

This study aims to identify a number of legendary Banyumasan songs. The fact that a large number of the songs exist and people sing the songs all the time shows that the songs have their own uniqueness. This study takes place in Banyumas regency. By doing performance study and composition, this study identifies the form and the structure of Banyumasan songs, and the moral value of Banyumasan music, especially the songs in Banyumasan music. The result of the study shows that the songs in the art performances in Banyumas commonly use classic immutable songs. The lyrics in the classic Banyumasan songs use Ngoko Javanese in Banyumasan dialect. The rhyme of the lyrics is usually in the form of wangsalan, parikan, and Essen-Essen. The rhyme contains funny and entertaining riddles. The lyrics of Banyumasan songs reflect Banyumas people’s character and the dream/utopia of the people’s ideology. The character is shown in the use of ngoko Javanese in Banyumas dialect which shows that the society is blakasuta or egalitarian who considers all people in the world has the same level and must be honest.How to Cite: Suharto, S. (2016). Banyumasan Songs As Banyumas People’s Character Reflection. Harmonia: Journal of Arts Research And Education, 16(1), 49-56. doi:http://dx.doi.org/10.15294/harmonia.v16i1.6460

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