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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
 91   92   93   94   95 
Forms, Development and The Application of Music Media in The Kindergartens: A Comparative Study of Two Kindergartens Sumaryanto F., Totok; Utomo, Udi
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.v15i2.4099

Abstract

This study was aimed at investigating the form of music media employed in the teaching and learning process (TLP) in the kindergartens, and the teachers’ effort to develop and apply music media in the TLP. The researchers used a qualitative approach. The research was conducted in TK Hj. Isriati Baiturahman and TK Negeri Pembina Semarang. The subjects of the study were principals, teachers, staffs and students. In collecting the data, the researchers used three different techniques: interview, observation and documentation. Then, the researchers used data reduction, categorization and data interpretation to analyse the data. The result shows that the teachers in both schools have utilized varied music media in the TLP. In TK Hj. Isriati, the teachers used music media in the form of music composition and electronic equipment; and the new music instruments were used by the teachers in extracurricular activities. Meanwhile, the teachers in TK Negeri Pembina utilized music media including music composition, music instruments and electronic equipment. The development of music media by the teachers was done by modifying lyrics, composing simple songs, utilizing rhitmical music instruments and employing electronic equipment in the TLP.
MODEL PEWARISAN KOMPETENSI DALANG
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.v11i1.2072

Abstract

Penelitian ini bertujuan untuk mendeskripsikan model pembelajaran (pewarisan) kompetensi dalang. Untuk mengetahui model pembelajaran digunakan pendekatan pembelajaran tidak langsung dari Roger yaitu non-directive interview. Untuk mengetahui persyaratan dalang yang kompeten itu digunakan pendekatan strukturasionistik. Setting penelitian adalah jagat pedalangan, sedangkan lokasi penelitian bersifat situasional yakni bergantung dimana dan kapan siswa belajar mendalang. Hasil penelitian menemukan tiga model pembelajaran dalang. Pertama, model pembelajaran dalang di Sekolah dengan sistem dan aturan yang ketat, seperti  kurikulum, jadwal belajar, memiliki standar kompetensi dan standar kelulusan. Kedua, model pembelajaran dalang di Luar Sekolah, yaitu lembaga kursus. Ketiga,  model pembelajaran dalang di Luar Sekolah yang berbentuk Sanggar Seni. This study aims to describe the learning model (inheritance) of dalang competence. Efforts to overcome  the problems of  the study used qualitative research paradigms. To determine the learningmodel it was used an indirect approach of  Roger namely a non-directive interview. To fi nd out the requirements for competent dalang it was used structurasionistic approach. Setting of  the reseach is  world of puppetry, while research sites are situational, ie, depends where and when students learn a performer. The reseach founded three dalang learning models. First, the dalang learning model school system and the strict rules, such as a curriculum, a schedule of learning, competency standars and graduation standards.  Second, learning models are in out of school (non-formal school),for instance in the course  institution. Third, the dalang learning model in out of school (non-formal school) named  art studios.
PENGEMBANGAN MATERI PEMBELAJARAN SENI MUSIK BERBASIS SENI BUDAYA BERKONTEKS KREATIF, KECAKAPAN HIDUP, DAN MENYENANGKAN BAGI SISWA SD/MI
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.v9i2.638

Abstract

Education Unit Level Curriculum (KTSP) in Elementary School / MI, the level ofimplementation still meet many difficulties and obstacles experienced by theteachers. The research objective is to find information to develop teaching materialsbased music arts and culture for elementary school children / MI that can supportthe development of students' creative thinking, provide supplies to the students lifeskills, and create a pleasant learning atmosphere (joyful learning). Based on the dataobtained, it can be concluded that the current primary school teachers / MI are stillexperiencing difficulties and obstacles in learning the art of music. Difficulties andobstacles are: (1) the ability to translate the contents of the education unit levelcurriculum (KTSP) competency-based music, (2) the ability to optimize your child'smusic potential, (3) apply the method, (4) use of education tools and media (5)utilisation of the potential of cultural and natural environments around, and (6)develop an evaluation form. In this study developed a textbook model of musicteaching materials that are expected to be implemented at the same time teachersare able to stimulate and motivate teachers to develop further music learning.Suggestions proposed is that the institutions associated with the development oflearning in primary schools can develop training programs, development ofsourcebook and textbook which considers the potential of art, culture, and the needsof teachers.Kata kunci : seni budaya, kreatif, kecakapan hidup dan menyenangkan
Mapping Constraints of Art Extracurricular in Indonesia as An Effort of Policy Design Herdiati, Dian; Saputra, Dani Nur
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.v21i1.26480

Abstract

Extracurricular arts programs are an integral part of instilling character qualities in students. This research aimed to map out the constraints to extracurricular arts in elementary schools in Indonesia. To achieve the goal, this research looks at government initiatives aimed at enhancing the standard of arts extracurricular activities in elementary schools across the Country, which were carried out from 2013 to 2019. The method used in this study is a qualitative method with a participatory observation approach. They were collecting data using participatory methods, observation, and guided discussion. This study’s results indicate that schools’ various obstacles in implementing extracurricular programs, ranging from the availability of competent teachers in the arts, funding constraints for trainers, and the existence of regional autonomy. This constraint mapping is very useful for designing policies and extracurricular programs that are appropriate for schools.
Analisis Struktur Lirik Lagu "Indonesia Raya" Ciptaan W.R. Supratman (Structure Analysis of the Lyrics of the Song "Indonesia Raya" Composed by W.R. Supratman)
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.v6i3.816

Abstract

Lirik lagu " Indonesia Raya", karya komponis W.R. Supratman, juga merupakankarya sastra. Sebagai karya satra, ia memiliki struktur atau sistem dan tanda yangbermakna. Strukturnya, terdiri atas beberapa fenemena dan elemen, seperti:ponologi, morpologi, sintaktsis, semantik, dan semiotik, tetapi mereka mempunyairelasi dengan total makna dalam lirik. Vokal /u/ diulang tiga kali, sebagai contoh,merupakan relasi dengan kata-kata: "Negriku yang Kucinta", "aku", "kita","bersatu", "Indonesia", dan "Raya". Kemudian repetasi dan koneksi adalah tandakesatuan dari masyarakat Indonesia sebagai dasar jiwa yang cinta dan kebenaran daripersahabatan seluruh peradaban daerah "Indonesia Raya". Artikel ini memuat tigastruktur analisis lagu, yaitu lirik, struktur, dan makna.Kata Kunci: Lirik, Struktur, makna
Bedhaya Bedhah Madiun dance as a tourism superior asset in puro Mangkunagaran
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.v17i2.9199

Abstract

This research aims to describe responds and cultural practice that happened in Mangkunagaran based on the repression of tourism world. This research is an analytical research based on ethnographic study. Triangulation data is collected from the interviewees together with the manuscript of dance performance and direct observation of Bedhaya Bedhah Madiun dance. Classification of tourism dance is responded by Puro Mangkunagaran as the objectification of Bedaya Bedhah Madiun as a free dance. The cultural response potentially alters the semiotic sign system associated with ‘bedhaya’ sign. This is a sign to Bedhaya to add the profanity of Bedaya as a tourist attraction. The objectivity of Bedhaya Bedhah Madiun by Puro Mangkunegara also has a potency to deconstruct the understanding of Bedhaya Bedhah Madiun as a tourist attraction, Bedhaya Bedhah Madiun is not an imitation from the origin and it is not full of variation. Cheap or expensive the dance is, becomes relative. Furthermore, secrecy does not exist in the stage reality, but moves to hyper reality (in the fantasy and nostalgia of the audience). Respond and cultural practice of indicated Puro Mangkunagaran as a cultural institution which is active in doing the production-reproduction of meaning and the tourism enhancement.
RIJOQ: VOCAL MUSIC OF DAYAK BENUAQ FROM KUTAI, EAST KALIMANTAN -, Ester; Listya, Agastya Rama
Harmonia: Journal of Arts Research and Education Vol 14, No 1 (2014): June 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.v14i1.2784

Abstract

Rijoq, a Dayak Benuaq vocal music, has been passed down from generation to generation through oral tradition for hundreds of years. When and how it was founded, developed and preserved in the Dayak community remains questionable. But according to some research done by scholars, Rijoq has its origin from Dayak Bawo, a tribe living in the borderlines between Central, South, and East Kalimantan. Rijoq is normally performed during festivities, such as: initiation, reconciliation, menugal (rice planting) and potong kerbau (buffalo slaughtering). Rijoq’s texts have very deep messages which are considered still relevant to today’s life context. On the one hand, it speaks about the horizontal relationship—human beings and their fellows, and human beings and its nature—; and on the other hand, the vertical relationship—human beings with their Creator. The primary concern of doing this research is to preserve Rijoq as written and recorded documents. So far, this research has been successful in notating and recording five kinds of Rijoq, that is Peket Muat Bolupm (working together to build lives), Rijoq Patuk Ajer (advice), Rijoq Natal Tautn Bayuq (Christmas and New Year), Rijoq Isiq Asekng Sookng Bawe (the expression of a man’s feeling who is falling in love with a woman), and Rijoq Lati Tana Orekng Tepa (forests and lands are disappearing and gone). But this paper is not intended to discuss these five kinds of Rijoq. Isiq Asekng Sookng Bawe is chosen as it is the oldest and the most difficult Rijoq among the rest.
MITOS DAN POSISI SENIMAN DALAM ERA GLOBALISASI
Harmonia: Journal of Arts Research and Education Vol 1, No 1 (2000)
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.v1i1.834

Abstract

Globalisasi yang tengah merambah pada masyarakat dunia dewasa ini nampaknya lebih dipahami sebagai peristiwa dan proses kebudayaan. Hal  ini berarti pula berhubungan dengan lembaga, sistem, dan strategi global  dari pelakunya. Dalam globalisasi bukan hanya merupakan fenomena  budaya melainkan juga fenomena komersial yang membentuk keseragaman tertentu sekaligus membutuhkan perbedaan tertentu sebagai identitas dalam permainan suatu sistem dunia. Dalam konteks ini bukan saja tenaga dan pemikiran yang dijual tetapi komitmen dan loyalitas dari peran aktor. Implikasi fenomena global tersebut dalam jagad seni pertunjukan agaknya sering menimbulkan mitos, yang kemudian melahirkan suatu posisi-posisi tertentu pada diri sang seniman. Mitos tersebut terlihat dari tiga sikap pada  sebagian seniman, yaitu: 1) sikap yang mengarah pada kegairahan estetika yang berlebihan sehingga sering mengabaikan nilai dari seni yang memberikan pencerahan bagi kehidupan manusia; 2) sikap yang mengarah pada semangat yang meluap-luap untuk menjadi diri pribadi tanpa disertai semangat mencari nilai yang lebih bermakna; 3) sikap yang  mengarah pada pengkultusan terhadap diri seorang tokoh tertentu yang telah menduduki posisi elite. Dengan mitos semacam itu tak pelak kemudian muncul tiga posisi seniman, yaitu: sebagai reproduktor, akomodator, dan emansipator. Masing-masing posisi mempunyai tanggung jawab dan konsekuensi sendiri.
JEJAK CAMPURSARI (The History of Campursari)
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.v8i2.783

Abstract

Seiring popularitas campursari, berkembang pula pertanyaan siapasebenarnya penggagas ataupun penemu campursari tersebut Seiring puladengan semakin merosotnya popularitas campursari, pertanyaan tersebutbelum mendapat jawaban yang pasti. Berangkat dari pertanyaan tersebut,penulis berusaha mencari jawaban tentang jejak campursari denganharapan dapat member! kepastian tentang awal-mula atau asal-usulcapursari tersebut, Berdasar penelusuran yang penulis lakukan,campursari diperkenalkan pertama kali oleh para seniman RRI Semarangyang dipelopori oleh R.M Samsi yang tergabung dalam kelompokCampursari RRI Semarang pada tahun 1953-an. Sejak diperkenalkanpertama hingga kurun waktu tahun 70-an, tidak banyak aktivitas yangdilakukan kelompok ini kecuali secara rutin mengisi siaran RRISemarang setiap Rabu malam. Memasuki tahun 70-an, kelompok inibekerja sama dengan perusahaan rekaman swasta Ira Rekord, berhasilmenyelesaikan 9 album casset rekaman campursari. Biarpun sudahmenelorkan 9 album, ternyata tidak berpengaruh banyak terhadapeksistensi Campursari RRI Semarang. Keberadaannya hanya bersifatlokal dan tidak dikenal secara luas oleh masyarakat Memasuki tahun 90-an,berkat sentuhan tangan kreativ Manthous, campursari muncul kembalidenagn format yang berbeda dengan Campursari RRI Semarang.Kemunculan campursari pada era ini ternyata mendapat sambutan yangluar biasa dari masyarakat, dan akhirnya campursari ini dikenal secaraluas tidak hanya bersifat lokal, tetapi lebih luas lagi yakni nasional danbahkan dunia.Kata kunci: campursari, jejak.
The Concept of Balance at Sekati Ririg Gending in Tejakula, Buleleng Regency
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.v20i2.25412

Abstract

This study aims to determine the concept of balance found in playing techniques, tempo, and dynamics (ngumbang-ngisep) at Sekati Ririg Cenik gending in Tejakula, Buleleng Regency. The research is focused on the presentation using the barungan of Gong Kebyar gamelan, because at the time of handling the beginning observation, it was presented to accompany religious ceremonies at Pura Maksan Tejakula. This research is a qualitative study using several data collection techniques; observation, interviews, documentation, and literature. The approach used is a musicological approach using aesthetic theory. The results obtained from this study are the concept of dualism balance in terms of some of the forming elements in it, such as playing techniques on instruments pemade, kantilan, trompong, reyong, and ceng-ceng kopyak. These are some of the instruments that use the polos-sangsih system in their playing. Playing Technigue usually play parallel to the tempo, while playing technique sangsih is still playing against the tempo. Furthermore, the concept of balance at tempo can be seen from the speed with which gending Sekati Ririg Cenik is presented. The presentation begins with a slow tempo, then after several repetitions of the gending the tempo slowly changes to faster until it reaches the end of the gending, and the tempo is again set to slow. Likewise with the concept of dynamic balance which can be viewed from the loudness of the musical presentation. Setting the tempo and dynamics is intended to achieve balance and will not cause boredom in the presentation. These three things can be implemented in the Gong Kebyar gamelan instrument which is used as a medium in presenting Sekati Ririg Cenik gending by the community in Tejakula Village.

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