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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 GANDRUNG SEBAGAI OBYEK WISATA ANDALAN BANYUWANGI
Harmonia: Journal of Arts Research and Education Vol 12, No 1 (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.v12i1.2215

Abstract

Gandrung merupakan salah satu seni tari tradisional khas Kabupaten Banyuwangi Tari  Gandrung merupakan perkembangan dari tari Seblang. Tari Gandrung dalam pertunjukannya didukung berbagai unsur yakni penari, musik, alat musik, nyanyian, gerak tari dan  panggung. Dalam pementasannya setiap satu orang penari gandrung di iringi  4 orang pemaju atau pengibing semuanya laki laki atau semua perempuan. Tari Gandrung Banyuwangi dalam pementasan ada tiga adegan yaitu jejer, rerepen dan seblang subuh. Tari gandrung bisa dipentaskan di berbagai kesempatan antara lain pesta hajatan, hari besar nasional, dalam rangka memperingati hari jadi kabupaten kegiatan pariwisata.Tari gandrung sekarang telah menjadi daya tarik wisata, dikemas secara padat ringkas dan dapat dipentaskan setiap saat. Gandrung is one of Banyuwangi’s traditional dances. The dance is a continuation of Seblang dance. Gandrung dance in performance is supported by various components such as dancers, music, musical instruments, songs, dance movement, and stage. In its performance, each gandrung dancer is accompanied by 4 pemaju or pengibing (choral dancers) of all male or female ones. The dance has three scenes, namely jejer, rerepen and seblang subuh. Gandrung dance is usually performed in various occasions such as wedding, national days, or in commemoration of regency’s anniversary, and in tourism events. Gandrung dance now becomes tourism attraction, produced in a concise way be performed for any occasion.
IMPLEMENTASI KURIKULUM TINGKAT SATUAN PENDIDIKAN (KTSP): DALAM PEMBELAJARAN SENI MUSIK DI SMA CITISCHOOL SEMARANG
Harmonia: Journal of Arts Research and Education Vol 9, No 1 (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.v9i1.667

Abstract

The aim of this research are to explain implementation of KTSP in music learning in SMACitischool Semarang consists of planning, implementation of learning, and learning evaluation. Thisresearch uses qualitative-descriptive approach. Techniques of data collection aree literature studies,interview, observation, and documentation. In analyzing data, the researcher use descriptive andinteractive analysis from Milles, which consists of data collection, data reduction, data presentation,and conclusion. Research result shows that music learning in SMA Citischool Semarang 2008/2009are appropriate with KTSP : (a) learning plan have been conducted by teachers by making: developsyllabus and evaluation, annual program, semester program, and plan of learning, (b) learningprocess is appropriate with KTSP (competence standard) consists of appreciation and creation, butthe quality of learning is needed to be increased, and (c) evaluation is still influenced by curriculumevaluation before that consist of three aspects: cognitive, psychomotor, and affective aspects.Suggestion in this research: quality of teachers’ administration should be increased, optimizelearning process, and learning evaluation should be appropriate with appreciation and creationaspects in activities.
PEMBELAJARAN MUSIK KREATIF PADA ANAK USIA DINI (The Learning of Creative Music in Early-childhood Children)
Harmonia: Journal of Arts Research and Education Vol 5, No 1 (2004)
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.v5i1.829

Abstract

Sa/a/7 satu ciri kehidupan manusia adalah berpikir kreatif, begitujuga pada anak. Kreativitas anak dapat dipupuk/dikembangkan antara lain melalui pembelajaran musik. Pembelajaran musik bersifat terbuka dan tertutup. Kegiatan tertutup berhubungan dengan kegiatan mental dan kegiatan terbuka berhubungandengan tindakan nyata. Dalam pembelajaran musik kreatif peran afeksi dalam kognisidan performs musik sangat penting. Belajar keterampilan adalah sa/a/7 satu perspektifpenting pada pembelajaran musik kreatif, yang sa/a/7 safu aktivitasnya adalahmenyanyi. Keberhasilan proses belajar musik kreatif sangat tergantung pada suasana kegiatan belajar yang kondusif.Kata Kunci Kreativitas; pembelajaran musik; performa musik; menyanyi.
Improving Prospective Primary School Teachers’ Skill in Playing Gamelan Degung: An Action Research in Indonesia
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.v18i2.15698

Abstract

Prospective primary school teachers had low skill in playing gamelan degung (Indonesian Gamelan). To improve skills in playing gamelan degung correctly, prospective primary school teachers need to be taught techniques of ringing, muffling (menengkep), and memorizing the compositions. Therefore, this research seeks to improve students in playing gamelan degung. The action research report presented in this article exemplified the work of the involved collaborative team in making reflective-critical steps to change the students’ ability from their initial state of being unable to play gamelan degung properly to be able to play gamelan composition properly. The results of the action had shown changes in the ability of students in playing gamelan degung with 97.6% skill change level of the students and 57.15% success rate of students improving from the inept category to the adept category in playing gamelan degung. As a result, the skills of prospective primary school teachers in playing gamelan degung can be improved through some development steps in action research.
Tayub as a Symbolic Interaction Medium in Sedekah Bumi Ritual in Pati Regency Suryani, Sisca Dwi
Harmonia: Journal of Arts Research and Education Vol 14, No 2 (2014): December 2014
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.v14i2.3291

Abstract

This study aims to find, understand, and describe the process of symbolic interaction in sedekah bumi ritual and the supporting symbols of Tayub as the symbolic interaction medium in the ritual. This study applies qualitative methods with the holistic approach. The research was conducted in Dukuh Guyangan, Desa Sidoluhur, Kecamatan Jaken, Kabupaten Pati. In collecting the data, observation, interview, and documentation technique were implemented. Further, the data were analyzed using the technique of data reduction, data presentation, drawing conclusion, as well as verification. The data was validated using the sources triangulation, the technique triangulation, and the time triangulation. Tayub as the medium of symbolic interaction realizes in four interaction processes, as follows: 1) symbolic interaction processes between the ritual actors and the spirits of ancestors reflected in kenduren procession held in punden, 2) symbolic interaction process between ledhek and pengibing that is embodied in ibingan, 3) symbolic interaction process between wiraswara and the audiences that is seen during the dance performance, 4) symbolic interaction process between pengrawit and ledhek that is reflected in the dance movements and the accompanying music. The meanings of symbol behind the ritual itself are reflected through the realization of symbolic interaction. It consists of three elements, as follows: 1) kenduren prayer, 2) offerings and ambeng, 3) Tayub dance.
MEMPERTIMBANGKAN KONSEP PENDIDIKAN SENI (Considering the Concept of Art Education)
Harmonia: Journal of Arts Research and Education Vol 2, No 2 (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.v2i2.851

Abstract

Seni mempunyai peran yang sangat penting, yaitu sebagai kebutuhandasar pendidikan manusia (Bacis Experience in Education), memenuhikebutuhan dasar estetika, pengembangan sikap dan kepribadian, dandeterminan terhadap kecerdasan lainnya. Pendiidkan seni yangebrdimensi mental (moral) sesungguhnya dapat membantu kecerdasanemosional dan intelektual, menghargai pluralitas budaya dan alamsemesta, menumbuhkan daya imaginasi, motivasi, dan harmonisasi siswadalam menyiasati atau menanggapi setiap fenomena sosial budaya.Kata Kunci : pendidikan seni, kompetensi
Perkembangan Tari Ritual Menuju Tari Pseudoritual di Surakarta (The Development of Ritual Dance toward Pseudoritual Dance in Surakarta)
Harmonia: Journal of Arts Research and Education Vol 8, No 1 (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.v8i1.798

Abstract

Seni tari merupakan cermin dari realitas manusia yang dicoba dikemas lewat"gerak-musikal". Kekuatan seni tari terletak pada makna di belakang setiap gerakanyang dipandu dengan alunan iringan musik. Realitas alam fisik maupun non fisikditampilkan seni tari dengan gerakan yang mempunyai arti bagi manusia itusendiri. Sejak jaman prasejarah telah diketahui bahwa tari lahir didasari olehkegunaannya pada masyarakat jamannya. Pada masyarakat primitif sangatdirasakan tari sebagai sarana atau media untuk mencapai suatu kebutuhan, merekasangat percaya dengan menari akhirnya apa yang diinginkan akan tercapai. Tariupacara sebagai media persembahan dan pemujaan terhadap kekuasaan yang lebihtinggi dengan maksud untuk mendapatkan perlindungan, demi keselamatan,kebahagiaan dan kesejahteraan hidup masyarakat. Dengan demikian, tari upacarajuga disebut tari ritual. Pada tari upacara (ritual) faktor keindahan adalahsekunder, yang mengutamakan kekuatan yang dapat mempengaruhi kehidupanmanusia sendiri ataupun hal-hal di luar diri manusia. Keindahan jiwa manusia itusendiri dimanifestasikan menjadi bentuk gerak tari. Tari dilaksanakan untukmendapatkan makanan, menghormati orang mati, atau untuk menjamin tertib yangbaik dalam kosmos. Tarian tersebut dilangsungkan pada kesempatan inisiasi,upacara magis-religius, perkawinan, dan sebagainya.Kata Kunci : perkembangan, tari ritual, psiuduritual.
Percussion Pattern of Terebang Gede in Panggung Jati Studio, Panggung Jati Village, Serang
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.
Smart kinesthetic measurement model in dance composision
Harmonia: Journal of Arts Research and Education Vol 17, No 1 (2017): June 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.v17i1.8257

Abstract

This research aimed to discover a model of assessment that could measure kinesthetic intelligence in arranging a dance from several related variable, both direct variable and indirect variable. The research method used was a qualitative method using path analysis to determine the direct and indirect variable; therefore, the dominant variable that supported the measurement model of kinesthetic intelligence in arranging dance could be discovered. The population used was the students of the art of dance department and were chosen by using purposive sampling technique so that the kinesthetic intelligence could be well measured. The result of this research was that the correlation between the ability in perceiving movement and the ability in conveying movement was 3.8048. The correlation between the ability in perceiving movement and kinesthetic intelligence was 0.3137. The correlation between the ability in perceiving movement and arranging a dance was -0.3751. The correlation between conveying movement and kinesthetic intelligence was 0.1333. The correlation between conveying movement and arranging a dance was -0.2399. The correlation between kinesthetic intelligence and arranging a dance was 0.8529. These result proved that kinesthetic intelligence has significant influence to the ability in arranging a dance. It could be concluded that a smart assessment model of kinesthetic intelligence in arranging a dance that was needed should measure the kinesthetic intelligence first while the ability to perceive and convey movement became the supporting element to strengthen the kinesthetic intelligence in arranging a dance.
SACRILEGIOUS ASPECT OF JAVANESE GAMELAN: PAST AND FUTURE
Harmonia: Journal of Arts Research and Education Vol 13, No 1 (2013): June 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.v13i1.2533

Abstract

This article aims to discuss sacrilegious aspect of Javanese Gamelan in the past and what will happen in the future if it is mistreated. The most important, this article will observe the religious aspect that Gamelan has as its main function. It also explores a background history of Indonesia as a religious nation, an explanation on Gamelan music structures, and its influence toward the Western composers such as Claude Debussy and Lou Harrison in composing their musical works that are emphasizing the sacrilegious aspect of Gamelan. It gives some detail studies on their musical works that are influenced by Gamelan music in which those composers still gave a highly and rightful respect in their approach toward Gamelan music. Lastly, this article also explores the electronic Gamelan Music and its effects toward tradition. Meanwhile, it is necessary to preserve the religious aspect of Gamelan because it will define Indonesian as religious culture. Tujuan penulisan artikel ini adalah untuk melihat kesakralan aspek dari Gamelan Jawa di masa lampau dan melihat kepada masa yang akan datang sehingga bisa dilihat apakah ada unsur kesakralan yang telah diselewengkan ataupun pudar. Hal yang terpenting di dalam ulasan artikel ini adalah pengamatan tentang unsur religi yang Gamelan miliki sebagai fungsi yang terutama. Artikel ini juga akan menjelaskan tentang sejarah Indonesia sebagai negara yang berbasis agama sejak awal mula berdirinya sampai saat ini, menjelaskan tentang struktur musik dari Gamelan, dan pengaruh Gamelan bagi komposer musik barat seperti Claude Debussy dan Lou Harrison dalam mengkomposisi musik mereka di mana mereka masih memperhatikan unsur dan fungsi kesakralan dari Gamelan. Analisa tentang komposisi musik mereka juga akan diulas di sini sehingga kita bisa melihat bagaimana komposer-komposer ini masih memberikan apresiasi dan respek yang benar dalam penyajian musik mereka yang terinspirasi oleh Gamelan musik. Pada akhirnya, artikel ini juga akan menjelaskan mengenai Gamelan elektronik yang sedang berkembang saat ini dan efeknya terhadap tradisi budaya Indonesia. Selanjutnya, sangatlah perlu bagi masyarakat Indonesia untuk mempertahankan unsur kesakralan dari Gamelen karena akan dapat mengidentifikasikan Indonesia sebagai suatu budaya yang beragama.

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