Grenek: Jurnal Seni Musik e-ISSN: 2579-8200 | p-ISSN: 2301-5349 Frequency: 2 issues per year (June & December) DOI: Prefix 10.24114 Editor in Chief: Dr. Pulumun Peterus Ginting, S.Sn., M.Sn. Managing Editor: Try Wahyu Purnomo, S.Pd., M.Pd. Publisher: Departement of Music Education, Faculty of Languages and Arts, Universitas Negeri Medan Accreditation Rankings: Sinta 4 Grenek: Jurnal Seni Musik (English: Grenek Music Journal) is a peer-reviewed journal published by the Department of Music Education, Faculty of Languages and Arts, Universitas Negeri Medan (since 2017) and is managed in collaboration with Asosiasi Program Studi Pendidikan Sendratasik Indonesia (Association of Indonesian Drama, Dance and Music Education Study Programs/AP2Seni). Grenek: Jurnal Seni Musik (English: Grenek Music Journal) is an integrated media for on going communication related to significant new research findings related to music studies, including: Music Education, Ethnomusicology, Music Performance Management, Musical Instrument Organology, Music Composition, Contemporary Music and Music Psychology. Grenek: Jurnal Seni Musik (English: Grenek Music Journal) publishes research articles that are comprehensive in nature by inviting reviews from the leading experts in music studies. The incoming papers will be selected based on high scientific studies, provide important new knowledge, and are very interesting for the community in the field of music studies.This journal provides immediate open access to its content on the principle that making research freely available to the public supports a greater global exchange of knowledge. Grenek: Jurnal Seni Musik is Indexed By: Grenek: Jurnal Seni Musik (English: Grenek Music Journal) is accredited by the Ministry of Research, Technology and Higher Education, Republic of Indonesia, which is ranked Fourth Grade (Peringkat 4, Sinta 4) from 2021 to 2025 based on Decree No. 105/E/KPT/2022
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Eksistensi Doding Pada Kalangan Muda Simalungun
This research aims to describe the existence of Simalungun doding performed with inggou among the younger generation of Simalungun and analyze the factors that influence the continuity of this tradition. Using a qualitative approach, this research examines how Wallace & Srb's adaptation theory can explain the phenomenon. The results show that doding with inggou, as an integral part of Simalungun culture, has an important role in maintaining the identity and social values of the community. However, the existence of this tradition among the younger generation is increasingly diminishing due to the influence of modernization and globalization. The lack of understanding of the values contained in doding and the lack of conservation efforts are the main factors that cause this. This research concludes that strategic efforts are needed to revive the doding tradition with inggou among the younger generation, such as through education, socialization, and innovations that are relevant to the times.
Copyright (c) 2025 Sapna Sitopu, Rahmatika Luthfiana Sholikhah, Rithaony Hutajulu https://creativecommons.org/licenses/by-sa/4.0
Lagu Marsinondang Dibaen Jesus Karya Philip Paul Bliss: Analisis Bentuk dan Makna Lagu
This study aims to analyze the form and meaning of the song Marsinondang Dibaen Jesus from the Ende HKBP book number 518 by Philip Paul Bliss. The song is sung by the congregation during Sunday services at the HKBP Church and other services. The song was composed by Philip after hearing a sermon from Dwight Lyman Moody about a storm that occurred at the Cleveland harbor docks which had two lighthouses, called the upper light and the lower light. The captain couldn't see the lower lights, which caused the ship to sink to the bottom of the sea. Only a small number of the crew survived, and most drowned. Based on Moody's account, Philip wrote the song "Let the Lower Lights be Burning." The song was then translated by missionaries into the Toba Batak language based on the meaning of the song and gave the song the title Marsinondang Dibaen Jesus (“shining because of Jesus”). This research used a descriptive qualitative method. The results showed that the song's form is binary (A, B) and has eight melodic motifs. The meaning contained in the song "Marsinondang Dibaen Jesus" states that God's faithful love must continue to be reflected in life, God's faithful love must continue to be expressed so that others can be saved and find the path to truth. The meaning of this song is emphasized by the use of non-verbal language, namely the time signature 3/2, andante tempo around ♩ = 75, crescendo ( < ) and decrescendo ( > ) signs, forte ( f ), ascending and descending motion. The use of these signs emphasizes the majestic character of the hymn, which strengthens the message of deep spiritual joy and the atmosphere of worship full of appreciation.
Copyright (c) 2025 Emmi Simangunsong, Ance Juliet Panggabean , Ronald Heriko Saragih , Eston Hernandes P. https://creativecommons.org/licenses/by-sa/4.0
Tabbhuwân Colo’: Tradisi Gamelan Mulut Masyarakat Nelayan Panarukan, Kabupaten Situbondo
This article examines tabbhuwân colo’, an oral gamelan tradition practiced within the fishing community of Panarukan, Situbondo. This tradition realizes the structural principles and repertoire of Madurese gending through vocal sound and the human body, without the use of metal musical instruments. Drawing on ethnographic experience gained from sitting in a circle with senior practitioners, the article approaches tabbhuwân colo’ not merely as a form of vocal art, but as a collective musical practice rooted in fishing labor, embodied memory, and the history of Madurese migration from Sumenep to the northern coast of East Java.The study employs an ethnographic approach through participant observation, in-depth interviews, and audio-visual documentation, analyzed within the theoretical frameworks of oral tradition, sound ecology, and embodiment. The findings demonstrate that tabbhuwân colo’ functions as a structured musical system, with a division of sonic roles that imitate the functions of Madurese gamelan instruments, sustained through egalitarian social coordination and collectively distributed musical knowledge. Its musical complexity does not rely on individual virtuosity, but on shared capacities for listening, mutual adjustment, and the maintenance of sonic balance. Historically, tabbhuwân colo’ developed within the context of fishing labor—particularly during the tèra’an period—and functioned as work music, a medium of social cohesion, and an archive of collective memory. However, changes in fishing technologies, the contraction of collective work spaces, and shifts in the coastal soundscape have placed this tradition in a condition of serious endangerment.
Copyright (c) 2025 Panakajaya Hidayatullah https://creativecommons.org/licenses/by-sa/4.0
Strategi Pembelajaran Efektif di Era Digital melalui Direct Instruction pada Mata Kuliah Aransemen Paduan Suara
This study aims to assess the effectiveness of the Direct Instruction (DI) model as a learning method in improving students' abilities in the Choral Arrangement course in the digital era. This study aims to emphasize the importance of implementing the DI model in the context of modern learning that is rich in technology integration, especially in Semester 6 of the Music Arts Study Program, Faculty of Languages and Arts, HKBP Nommensen University, Academic Year 2024/2025. The method applied is descriptive qualitative with a case study approach. Data were obtained through observations of the learning process, interviews with students, and documentation of the results of arrangement assignments. The results of the analysis show that the DI model, with a structured and planned teaching approach, can improve students' conceptual understanding, technical skills, and creativity in creating choral arrangements. The use of digital technology such as music notation applications and online learning media also increases the effectiveness of this model. In addition, students showed a good response to the clarity of instructions, measurable learning steps, and increased motivation to learn. This study states that Direct Instruction is relevant and can be adapted to learning needs in the digital era, especially in the context of practice-based courses such as Choral Arrangement.
Copyright (c) 2025 Ance Panggabean, Junita Batubara , Arsen Nahum Pasaribu , Romahulina Saragih https://creativecommons.org/licenses/by-sa/4.0
Reinterpretasi Pertunjukan Tradisional Rapai Bubee: Pewarisan Kesenian Tradisional Kabupaten Pidie Jaya ke dalam Dokumentasi Audio Digital
Rapa'i Bubee is a traditional art form that originated and developed in the Meureudu area of ​​Pidie Jaya. Rapai Bubee, a ritualistic art form featuring musical and movement attractions, has been recognized as an Intangible Cultural Heritage of Humanity. However, its existence has faded, necessitating innovation in the form of digital audio documentation research and art and cultural preservation. Generally, research on the Rapa'i Bubee art form is limited to movement; musical research is rare. This study offers an innovative approach to Rapa'i Bubee music, exploring the local wisdom of the Pidie Jaya Regency community by digitally documenting Rapa'i Bubee in the modern era. This research uses the Artistic Research Method with a reinterpretation approach. This research provides a reinterpretation of the form of the rapai bubee performance in the form of taboh tapoh musical expression through the creative process of digital audio recording. This research has three stages, namely: a. Formulation of Rapa'i Bubee Musical Syair and Rhythm of Rapa'i Bubee Beats, b. determining the design of the Record/Record, c. development of musical innovation by utilizing digital audio technology. In this research, the researcher focuses on the musical aspects of the Rapai Bubee art, which includes the playing of rapa'i instruments and the sung poetry. Researchers are leveraging the latest technological advances in cultural preservation efforts, specifically through digital audio recording. Taboh tapoh is a term derived from the Acehnese language, where taboh means percussion and tapoh means blow. Taboh tapoh represents the Rapai Bubee performance, featuring a variety of rapai beats, ranging in speed from slow to fast.
Copyright (c) 2025 Tria Ocktarizka, Rizki Mona Dwi Putra https://creativecommons.org/licenses/by-sa/4.0
Analisis Musik Tangis Dilo sebagai Media Pelestarian Tradisi Meratap Suku Alas di Aceh Tenggara
Tangis Dilo is one of the musical traditions of the Alas community in Kutacane, Southeast Aceh, which is presented in the form of lullabies with simple melodies and expressive lyrics. Tangis Dilo serves as a medium for conveying moral messages, prayers, and parents' hopes for their children, as well as a means of passing on life values. However, the tide of globalization has resulted in this tradition being practiced less and less frequently, threatening its disappearance from community life. Therefore, preservation efforts are needed to ensure its relevance amid changing times. The purpose of this study is to analyze and describe the presentation of Tangis Dilo music in an effort to preserve it as the intangible cultural heritage of the Alas community. The research uses a qualitative method with data collection techniques in the form of literature studies, direct observation, interviews with practitioners, and audio-visual documentation. The results of the study show that Tangis Dilo has distinctive musical characteristics, with a monophonic form, simple melodies with repetitive patterns, and a free rhythm that adapts to the lyrics and emotions of the singer. Its musical structure is flexible, depending on the message to be conveyed, making each performance unique. Therefore, preservation must be carried out through documentation, education, and the use of digital media to ensure that Tangis Dilo remains as the intangible cultural heritage of the Alas community.
Copyright (c) 2025 Rizki Mona Dwi Putra, Elmi Novita, Abdul Rozak https://creativecommons.org/licenses/by-sa/4.0
K-Pop dan Tiktok: Video Konten SWN Brass Band Sebagai Wujud Kreativitas Bermusik Di Era Pandemi Covid-19
The Tiktok application is a social networking platform that is a medium of expression for millennials to create short videos in line with innovation and changes in technological systems in the era of disruption. As a consequence, users of this application become dependent, especially on fans of K-Pop or popular music originating from South Korea. Tiktok encourages interested K-Pop fans to be as creative as possible with short videos and music. In line with this phenomenon, this research highlights K-Pop music on the Tiktok application which has gone viral in the last few months. The study focuses on YouTube content by the SWN Brass Band into the concept of the Tiktok Medley performance along with video clips. The aim of this research is to descriptively describe K-Pop songs that are currently viral on the Tiktok application by SWN Brass Band as a form of musical creativity. The theory used in this research is the analysis music theory by Leon Stein. This research uses qualitative methods with a musicological approach. Data collection was carried out through interviews who were considered key sources. It is hoped that this research can make a contribution to the Music Study Program, especially related to musical creativity during the pandemic, namely in the massive use and utilization of technological systems.
Copyright (c) 2025 Puput Meinis Narselina https://creativecommons.org/licenses/by-sa/4.0
Isosolo as a Space for Aesthetics and Cultural Identity in Ayapo Village Papua
Traditional Papuan music is not merely a form of entertainment but serves as a medium of cultural expression, spirituality, and collective identity. One tradition that embodies this complexity is *Isosolo* in Ayapo Village, Jayapura, a practice of singing and dancing on decorated boats that reflects the deep interconnection between humans, nature, and spirituality in a unique aesthetic form. This study employs a qualitative approach within the framework of ethnomusicology and cultural anthropology, drawing on performance documentation, interviews with local cultural figures, and relevant literature. The findings reveal that the aesthetic values of Isosolo manifest in three main dimensions: audial, visual, and kinesthetic. The sound of the tifa drum, conch shell, and collective singing construct an acoustic landscape that is not only sonically beautiful but also reinforces social solidarity, cultural identity, and ecological awareness. The decorated boat as a floating stage, combined with communal dance movements, affirms the Sentani people’s close relationship with the lake as their living space. Isosolo’s audial aesthetics emerge as a holistic experience that is communal, relational, and contextual, where music transcends sound to function as a medium of transmitting values, symbols, and spirituality. The uniqueness of this study lies in its focus on the audial and collective dimensions of Isosolo, which have rarely been examined in depth, while its novelty lies in the integration of classical, pragmatic, and contemporary aesthetic theories to interpret Isosolo as an epistemological space connecting humans, culture, and nature. Thus, this study enriches the global discourse on non-Western musical aesthetics and reaffirms Isosolo as a living cultural heritage to be preserved and passed on across generations.
Copyright (c) 2025 Chirstian Lamban Gasong, Nanik Sri Prihatini , Branckly. E. Picanussa https://creativecommons.org/licenses/by-sa/4.0
Aksesibilitas dan Literasi Digital Musisi Independen dalam Pemanfaatan Platform Believe Backstage
This study examines the experience of the band AidoAudio in utilizing the Believe Backstage platform for digital music distribution through a descriptive qualitative approach using a case study, involving semi-structured interviews and supporting documentation. Findings indicate that access to the platform is largely influenced by social networks and informal communication, while internal administrative measures, including establishing a label and managing legal documents, strengthen legitimacy and expand distribution opportunities. The band’s digital literacy is multilayered; technical-operational skills such as uploading releases are relatively well-mastered, but interpretative and strategic literacy, including the use of analytics and editorial pitching, remains limited. Administrative barriers and limitations in strategic literacy create a dual obstacle, meaning that available access is not always fully utilized. To address this, the band develops internal strategies including managing promotional materials, simple evaluations, and coordination with relevant parties to enhance distribution effectiveness. The study underscores that successful digital distribution for independent musicians requires the integration of administrative legitimacy, technical proficiency, and strategic literacy to fully and sustainably leverage the potential of the platform.
Copyright (c) 2025 Rengga Ramayuda , Soni Reffali , Hinhin Agung Daryana https://creativecommons.org/licenses/by-sa/4.0
Optimalisasi Pembelajaran Piano dengan Pendekatan Deep Learning
Learning is an activity aimed at acquiring knowledge and skills useful in life. Piano lessons conducted in the Music Education study program, Faculty of Performing Arts, ISI Yogyakarta, are part of formal education. Current piano lessons must be optimized with a different approach than the previous teacher-centered approach. A deep learning approach can be used to help students understand the fundamentals of piano. The deep learning approach has three main elements: meaningful learning, mindful learning, and joyful learning, which can be used to overcome the difficulties faced by students. This research used a qualitative method based on data obtained in the field, namely in the piano instrument study class in the Music Education study program, Faculty of Performing Arts, ISI Yogyakarta. The research approach used was a case study. Data collection techniques were conducted through literature/document studies, observation, and interviews. The data analysis process consisted of data reduction, data presentation, and drawing conclusions based on the data obtained during the fieldwork.
Copyright (c) 2025 Lingga Ramafisela https://creativecommons.org/licenses/by-sa/4.0
Analisis Lagu Bernuansa Jawa pada Perayaan Ekaristi di Gereja Stasi Kabar Gembira Kotabumi
One of the most important parts that cannot be separated from the Eucharistic Celebration is the songs accompanying each procession. The songs used in the Eucharistic Celebration have various types. One popular form is the Inculturation song form. This study will discuss the use of the Javanese Inculturation song form used in the Eucharistic Celebration at the Kabar Gembira Catholic Church in Kotabumi using the Qualitative-Descriptive Research model. This study aims to analyze and describe the songs "Aku Mengasih Tuhan", "Bapa Kami Gaya Jawa", and "Ndherek Dewi Mariyah". Data was collected through observation, interviews, and documentation. The data that had been collected was then analyzed using the theory of "Musical Form Science" by Karl-Edmund Prier SJ and the theory of "Javanese Inculturation Music Form" by Ardhana. This study found the Canon musical form in the three songs analyzed. This study also found that the Javanese nuances contained in the songs analyzed can be seen based on the composition or tuning, as well as the language used in the presentation of the song.
Copyright (c) 2025 Maria Angelika Intan Ristyaloka, Erizal Barnawi, Bian Pamungkas https://creativecommons.org/licenses/by-sa/4.0
Analisis Musikal dan Non-Musikal pada Perjamuan Kudus Gereja Advent Bandar Lampung
The Holy Communion is held as a reminder of Jesus' death on the Cross to redeem humans from sin. This study uses a descriptive qualitative method to determine the Musical and Non-Musical Analysis found in the Holy Communion at the Bukit Kemiling Permai Adventist Church. Data were received through observation, interviews, and documentation and processed using musical and non-musical analysis theories. The Holy Communion song "Betapa S'nang Aku Kabarkan" consists of an intro, verse, chorus, and outro, has 2 phrase forms, and 4 motifs, with a 6/8 time signature with a tempo of 120 BPM. "Salib Di Bukit Golgota" consists of a chorus, verse and outro, has 5 motifs and 2 phrases, with a 3/4 time signature and a tempo of 70 BPM. "Mengapa Darah-Mu, Yesus" with a chorus, verse and outro, has 4 motifs and 2 phrases, a 3/4 time signature and a tempo of 60 BPM. “Pada-Mu Allah Ku Puji” consists of an intro and verse, has 3 motifs and 2 phrases, 4/4 time signature with a tempo of 80 BPM. This research was conducted at the Bukit Kemiling Permai Adventist Church, with the support of the Church Council and Congregation, taking place at night and during the day, the musicians do not have special provisions, the costumes used are predominantly white and dark.
Copyright (c) 2025 Debora Trefy Nicolaas, Erizal Barnawi , Bian Pamungkas https://creativecommons.org/licenses/by-sa/4.0
Exploring selected Traditional and Contemporary Repertoires of Malay Gamelan on the Keromong
This study examines the performance techniques of the keromong, a key melodic instrument in the Malay gamelan ensemble, focusing on both traditional and modern repertoires. Despite its central role, systematic documentation of keromong techniques remains limited, mainly because traditional teaching methods are mostly transmitted orally. Guided by constructivist learning theory, this research uses a qualitative approach, combining performance observation, semi-structured interviews, audiovisual analysis, and reflective journaling. The study explores three core techniques introduced by the late Adiguru Bob Khalil - Irama Satu (Simultaneous Rhythm), Irama Dua (Alternating Rhythm), and Irama Bertingkah (Interlocking Rhythm) and demonstrates how they are applied in both classical pieces (Timang Burung) and new compositions (Overture Maharajawana, Maharajawana, and Nafas). These techniques, integrated with the researcher’s interpretive choices, such as dynamic playing/ hitting, expressive hand gestures, and controlled breathing, enhance the emotional and visual aspects of performance. The findings show that traditional techniques, while rooted in heritage, can be effectively adapted for contemporary compositions, enriching musical interpretation and expression. This study contributes to the ongoing discussion of Malay Gamelan pedagogy by proposing a structured, accessible teaching model that complements oral traditions and provides visual or written guidance for learners. It highlights the potential of performance-based research to preserve cultural heritage while fostering innovation.
Copyright (c) 2025 Amira Farhana Binti Ahmad Hamidi, Huey Yi Wong https://creativecommons.org/licenses/by-sa/4.0
The Singing Style of Kamariah Noor: An Analytical Study of Singing Style in Lagu Melayu Asli
The preservation and revitalization of traditional musical performance practices represent critical challenges in contemporary ethnomusicological discourse, particularly within the context of Malay musical heritage. This research proposes a comprehensive strategy for rejuvenating Lagu Melayu Asli (LMA) through systematic integration of Kamariah Noor’s (KN) distinctive singing style, which have been marginalized by current performance standardization. This research also examines the distinctive vocal characteristics and musical techniques of KN, a prominent singer in LMA. Through comprehensive discographic analysis and expert interviews, this study explores KN’s unique singing style, focusing on her singing motifs in the singing style of LMA.
Copyright (c) 2025 Syazwan bin Junaidi , Zaharul Lailiddin bin Saidon https://creativecommons.org/licenses/by-sa/4.0
From Golden Maknae to Global Soloist: A Narrative Study on Jungkook’s Artistic Journey
This article examines Jungkook’s artistic journey in his solo album Golden through a qualitative descriptive approach with narrative and thematic analysis methods. The Golden album is viewed not just as a musical work, but as an emotional narrative that displays a spectrum of experiences of love, loss, longing, and self-acceptance framed in the representation of lyrics, music videos, and media. Each song is analyzed as a form of expression of Jungkook’s identity that develops from the figure of BTS’s “Golden Maknae” to an autonomous and reflective global soloist. The research findings reveal that Golden's songs exhibit intertwined emotional and relational patterns, showcasing the psychological complexity and emotional maturity they offer to listeners. In addition, the audio-visual representation in the music video and Jungkook’s appearance in various international media strengthen the public’s interpretation of his new identity as a solo artist. This article highlights the importance of reading popular music works not only as entertainment products but also as narrative and emotional artifacts that mediate the relationship between artists and listeners in the context of global culture and the digital era.
Copyright (c) 2025 Amaliya Indah Permatasari https://creativecommons.org/licenses/by-sa/4.0
Instrumen Saron dan Angklung (Sarlung) sebagai Proses Kreatif di Komunitas O.M.C Production Banyuwangi
Sarlung adalah alat musik dolanan yang terbuat dari bambu berbentuk seperti saron. Proses kreatif dalam pembuatan alat musik Sarlung melibatkan serangkaian langkah yang kompleks, yang tidak hanya menggabungkan keterampilan teknis tetapi juga imajinasi dan inovasi. Artikel ini bertujuan untuk mengungkap tahapan-tahapan dalam proses kreatif pembuatan alat musik Sarlung di komunitas O.M.C Production, dengan mengacu pada teori-teori kreativitas seperti yang diajukan oleh Graham Wallas. Dimulai dengan tahap persiapan (preparation), yaitu riset dan pengumpulan informasi tentang bahan, desain, dan prinsip dasar suara, dilanjutkan dengan tahap inkubasi (incubation) yang melibatkan pemikiran bawah sadar yang memunculkan solusi kreatif. Tahap berikutnya adalah iluminasi (illumination), di mana ide-ide baru muncul secara tiba-tiba, dan diakhiri dengan verifikasi (verification), yang menguji dan menyempurnakan ide melalui eksperimen dan pengujian praktis. Penekanan pada integrasi pengetahuan teknis, kreativitas musikal, serta motivasi eksplorasi memungkinkan penciptaan alat musik yang tidak hanya fungsional tetapi juga inovatif. Artikel ini juga membahas bagaimana proses kreatif dalam pembuatan alat musik dapat berkontribusi pada perkembangan dunia musik, serta pentingnya peran eksperimen dan refleksi dalam menghasilkan karya yang orisinal.
Copyright (c) 2025 Soumi Aulia Alhaqqi, Warih Handayaningrum, Eko Wahyuni Rahayu, Indar Sabri https://creativecommons.org/licenses/by-sa/4.0
Pembelajaran Violin Berbasis Kurikulum Belajar dan Bermain di Komunitas Musik POSS Surabaya
Komunitas musik POSS adalah salah satu komunitas musik di Surabaya yang masih eksis dari dulu hingga saat ini. Jenis penelitian ini adalah deskribtif kualitatif. Kurikulum yang ada pada komunitas ini menarik untuk diteliti. Keunggulan komunitas ini adalah pembelajarannya yang berbasis di lapangan dan interaksi langsung dengan penonton serta menekankan pembelajaran yang menyenangkan. Tujuan penelitian ini untuk menganalisa kurikulum pembelajaran violin yang ada pada komunitas Musik POSS. Berdasarkan penelitian yang telah dilakukan, pembelajaran violin dalam komunitas ini menggunakan kurikulum yang fleksibel dan terbuka untuk siapa saja yang mau berkontribusi, dengan catatan pedoman atau patokan adalah teori Suzuki violin book. Pengumpulan data menggunakan beberapa teknik mulai dari observasi, wawancara, serta dokumentasi. Analisis data dilakukan dengan pengumpulan data, kemudian dirangkum, kemudian data disajikan.
Copyright (c) 2025 Ragil Anggoro Putro, Setyo Yanuartuti, Warih Handayaningrum, Trisakti https://creativecommons.org/licenses/by-sa/4.0
Pola Asuh Seniman Sunda dalam Pembentukan Profesionalisme Mahasiswa Musik
Penelitian ini mengeksplorasi peran pola asuh dalam keluarga seniman Sunda terhadap pembentukan profesionalisme mahasiswa musik di Program Studi Musik FPSD UPI. Studi kasus pada dua mahasiswa, Wilky Leonady dan Fiqri Hidayatussafar, mengungkap bagaimana nilai-nilai budaya seperti disiplin, etos kerja, tanggung jawab, kreativitas, dan kerja keras yang ditanamkan sejak dini membentuk karakter bermusik yang profesional. Dengan pendekatan kualitatif dan metode studi kasus, penelitian ini melibatkan wawancara mendalam, observasi, dan analisis dokumen. Hasil penelitian menunjukkan bahwa pola asuh keluarga seniman Sunda tidak hanya memengaruhi keterampilan bermusik tetapi juga membentuk etos kerja dan kedisiplinan yang tinggi pada mahasiswa. Proses pembelajaran yang berbasis nilai budaya ini memberikan implikasi positif terhadap pengembangan profesionalisme musisi muda. Kesimpulannya, nilai budaya yang kuat dalam pola asuh keluarga seniman Sunda memainkan peran krusial dalam membentuk karakter profesional mahasiswa musik, memberikan wawasan berharga bagi pendidikan musik yang menekankan pada pengembangan keterampilan dan karakter secara seimbang.
Copyright (c) 2025 Enry Johan Jaohari, Tri Karyono, Andrian Purwanto https://creativecommons.org/licenses/by-sa/4.0
Gradual Drum Curriculum For Elementary Students: Integrating Reading Notation and Performance Practice
This research examines the development of the drum curriculum at Favore Music with a gradual approach to reading and playing notation. The research method used is descriptive qualitative with data collection techniques through observation, interviews, and documentation. The results show that a gradual approach to learning drums improves the understanding of notation systematically, starting from simple to complex rhythmic patterns. This learning model integrates hand-foot coordination techniques, improvisation, and exploration of various musical genres. The implementation of this curriculum not only has an impact on improving students' technical skills but also motivates them to learn in a more interactive and enjoyable way. With an adaptive learning structure, this curriculum can be applied in various music education contexts. These findings contribute to innovation in music education, especially in more effective and structured drumming.
Copyright (c) 2025 Piter Sembiring, Yudi Sukmayadi , Sandie Gunara https://creativecommons.org/licenses/by-sa/4.0
Analisis Makna Lagu Salam Horas pada Album Batak Muslim Bershalawat
Artikel ini berjudul “Analisis Makna Lagu Salam Horas Pada Album Batak Muslim Bershalawat”. Penelitian ini mengkaji tentang makna lagu Salam Horas yang ada pada album Batak Muslim Bersholawat. Metode yang digunakan dalam penelitian ini adalah metode kualitatif dengan pengumpulan data melalui observasi, wawancara, dan dokumentasi. Teori yang penulis gunakan dalam mengungkap permasalahan pada penelitian ini adalah teori semiotika Rolland Barthes. Adapun yang menjadi sampel dari penelitian ini adalah lagu Salam Horas dari album Batak Muslim Bersholawat dan yang menjadi populasi dalam penelitian ini adalah komunitas PERPERIS (persatuan perkumpulan Islam Samosir) dikota Medan. Hasil dari penelitian ini mengungkapkan lagu Salam Horas merupakan lagu rohani tradisi Batak Toba yang berisikan nilai-nilai keislaman diciptakan oleh Dr. H. Marhaban Sigalingging. Lagu salam horas memiliki makna yang berupa nilai nilai agama Islam yang cenderung mengajak pendengar dalam menjalankan perintah agama. Makna konotasi dari lagu ini yaitu keinginan penulis lagu dalam memperbaiki kehidupan masyarakat Batak Toba yang beragama Islam dalam menjalani kehidupan bersosial.
Copyright (c) 2025 Helsiana Sigalingging, Panji Suroso , Kumalo Tarigan https://creativecommons.org/licenses/by-sa/4.0
Musicological Study: Analysis of Laras Ganda in The Song “Angin” by Mang Koko
Mang Koko's song “Angin” represents an innovation in Sundanese karawitan that develops a creative and innovative application of laras ganda. This study aims to explore the application of laras ganda, namely the combination of laras salendro and laras madenda in the composition and analyze its impact on the musical dimension and artistic expression. Using a content analysis method based on a qualitative approach, this research utilizes data in the form of sheet music and audio recordings as the main study material. The results of the analysis show that the use of laras ganda in the song “Angin” is systematically designed to present a harmonious and profound transition of atmosphere. The alternation between laras not only enriches the complexity of the musical structure but also strengthens the aesthetic appeal and emotional narrative of the song. This reflects Mang Koko's ability to combine traditional values with musical innovation, making this work relevant in various cultural contexts, both traditional and modern. Thus the laras ganda in the song “Angin” functions as a key aspect in creating a unique diversity of musical colors while affirming the position of Sundanese karawitan as a dynamic, adaptive and progressive art in facing the challenges of the times.
Copyright (c) 2025 Marsel Ridky Maulana, Raffa Arya Saputra , Diynan Prayuga Sutisna , Alfin Pradinata Kartono P https://creativecommons.org/licenses/by-sa/4.0
Komunikasi Musikal dalam Konteks Upacara Adat Kematian pada Masyarakat Batak Toba
Penelitian ini bertujuan menganalisis komunikasi musikal dalam konteks upacara adat kematian pada masyarakat Batak Toba melaui interaksi yang terjadi antara music gondang, tortor (tarian adat) dan unsur-unsur dalihan na tolu. Penelitian ini menggunakan metode kualitatif deskriptif. Teknik pengumpulan data dilakukandengan observasi, wawancara, danstudi pustaka dengan teknik keabsahan data yaitu trianguasi data untuk menelaah, mengeksplorasi dan mengolah pustaka yang terkait dengankomunikasi musikal, dalihan na tolu, musik gondang dan tortor. Hasil dari penelitian ini menunjukkan bahwa musik gondang, tortor dan adat dalihan na tolu sangat erat hubungannya dalam pelaksanaan upacara adat kematian pada masyarakat Batak Toba yang memperlihatkan adanya pesan komunikasi musikal non verbal tetapi dapat dipahami di antara unsur-unsur dalihan na tolu yaitu hula-hula, dongan tubu dan boru. Gerakan tortor, tempo dan melodi musik gondang yang dimainkan pargonsi (pemain musik gondang) berfungsi sebagai komunikator dalam mewujudkan komunikasi musikal non verbal antara unsur-unsur dalihan na tolu, khususnya antara hula-hula dan boru.
Copyright (c) 2025 Emmi Simangunsong, Ronald Heriko Saragih, Kamaluddin Galingging, Happy Majesty Waruwu, Jeri Siburian https://creativecommons.org/licenses/by-sa/4.0
Pembelajaran Piano Klasik sebagai Latihan Fokus Anak Penderita ADHD
Anak berkebutuhan khusus selalu menarik perhatian dari berbagai pihak antara lain pendidik. ADHD atau attention deficit hyperactivity disorder meurpakan salah satu penyakit yang menyebabkan penderita sangat sulit untuk memfokuskan dirinya sendiri sehingga mengganggu rangkaian aktivitas dalam kehidupannya sehingga diperlukan penanganan dan pendidikan yang tepat bagi penderita ADHD. Salah satu terapi yang dapat dilakukan untuk mengurangi ADHD adalah dengan bermain piano klasik. Memainkan lagu dengan piano akan membantu penderita ADHD untuk lebih fokus dan mampu memusatkan perhatian secara perlahan. Penelitian ini merupakan penelitian deskriptif kualitatif dengan teknik pengumpulan data berupa observasi terhadap 5 anak penderita ADHD, wawancara kepada orang tua anak penderita ADHD, psikolog, hingga pengajar piano klasik. Peneliti juga menggunakan studi literatur dari jurnal ilmiah serta buku sebagai pendukung data inti. Hasil yang didapatkan adalah anak penderita ADHD mampu dilatih fokusnya dengan belajar piano klasik jika diberikan metode pengajaran yang tepat, antara lain (1) Metode drill and practice, (2) Metode time out, (3) Games.
Copyright (c) 2025 Luth Indyana, Indar Sabri , Autar Abdillah , Welly Suryandoko https://creativecommons.org/licenses/by-sa/4.0
Eksplorasi Extended Technique Vokal Aceh dengan Sentuhan Musik Elektronik dalam Upaya Memperkuat Rasa Identitas Budaya Lokal Aceh
Penelitian ini mengeksplorasi penggunaan teknik vokal perluasan (extended vocal techniques) dalam musik tradisional Aceh, dengan integrasi musik elektronik sebagai upaya memperkuat rasa identitas budaya lokal. Fokus penelitian ini adalah pada vokal tradisional Aceh yang diambil dari genre musik seperti Didong, Saman, dan Seudati, serta bagaimana teknik vokal baru seperti overtone singing dan multiphonics dapat diterapkan tanpa kehilangan esensi budaya lokal. Musik elektronik ditambahkan untuk memperkaya tekstur musik dan memperkenalkan inovasi modern. Hasil penelitian menunjukkan bahwa teknik-teknik baru ini dapat meningkatkan ekspresivitas vokal Aceh, sementara elemen elektronik memberikan sentuhan kontemporer yang tetap mempertahankan nilai-nilai budaya tradisional. Tujuan penelitian ini adalah untuk mengungkapkan penggunaan teknik-teknik baru dalam vokal Aceh sambil memelihara nilai-nilai budaya tradisional. Metode yang digunakan adalah pendekatan kualitatif, dengan tahapan: pemetaan literatur dan analisis data; eksperimen teknik vokal perluasan; integrasi musik elektronik; serta pengumpulan data dan wawancara seniman.
Copyright (c) 2025 Erlinda Erlinda, Abdul Rozak https://creativecommons.org/licenses/by-sa/4.0
Kajian Organologi Alat Musik Tradisional Kadiding Kampung Reta Desa Pura Kabupaten Alor
Alat musik tradisional Kadiding merupakan warisan budaya dari Kampung Reta, Desa Pura Selatan, Kecamatan Pulau Pura, Kabupaten Alor, yang berfungsi sebagai sarana hiburan bagi masyarakat setempat. Namun, keberadaan Kadiding kini terancam punah karena kurangnya pengetahuan mengenai teknik pembuatan dan cara memainkan alat musik ini di kalangan masyarakat lokal. Penelitian ini bertujuan untuk mengkaji secara mendalam organologi alat musik Kadiding guna memastikan pengetahuan tersebut dapat diwariskan kepada generasi mendatang sebagai upaya pelestarian budaya. Pendekatan kualitatif dan metode etnografi digunakan dalam penelitian ini, dengan melibatkan teknik observasi, wawancara mendalam, dan dokumentasi untuk memperoleh data yang komprehensif. Analisis data dilakukan melalui tahapan reduksi, penyajian, dan penarikan kesimpulan. Hasil penelitian menunjukkan bahwa proses pembuatan Kadiding melibatkan beberapa tahapan penting, yaitu pemilihan bambu tua yang berkualitas, pengolahan dan pembentukan bambu sesuai dengan ukuran yang diinginkan, penciptaan senar dengan mencungkil permukaan bambu, serta pembuatan lubang resonansi untuk menghasilkan suara yang baik. Teknik permainan Kadiding memerlukan keterampilan khusus agar bunyi yang dihasilkan terdengar indah dan harmonis. Selain itu, kajian ini juga mencakup karakter bunyi, elemen-elemen, dan fungsi Kadiding, yang dapat menjadi acuan penting dalam upaya pelestarian. Penelitian ini menegaskan pentingnya menjaga keberlanjutan alat musik tradisional Kadiding agar tetap dapat dinikmati oleh generasi mendatang seiring perkembangan zaman.
Copyright (c) 2025 Agustinus Renaldus Afoan Elu, Melkior Kian , Wasti Rambu Hingmadi https://creativecommons.org/licenses/by-sa/4.0
The Fusion of Tradition and Modernity: Reviewing the Lyrics and Vocal Style of Chinese Art Songs
This study explores the characteristics of Chinese art songs, with a particular focus on their lyrics and vocal style, through a literature review approach. Chinese art songs (yishu gequ) emerged during the May Fourth Movement as a fusion of Western compositional techniques and traditional Chinese cultural elements. The lyrics are deeply rooted in Chinese ancient poetry, drawing on classical themes such as nature, emotions, and philosophy, while maintaining structural integrity through poetic forms like shi (詩) and ci (詞). The linguistic complexities of Mandarin Chinese, a tonal language, present unique challenges for composers in balancing melodic expression with tonal accuracy. Additionally, the vocal style integrates Western operatic traditions with elements from traditional Chinese vocal aesthetics, such as those found in Peking opera and folk music. Performers face interpretative challenges due to the hybrid nature of the genre, requiring technical mastery and cultural sensitivity. The findings highlight the cultural and artistic significance of Chinese art songs as a unique genre that bridges traditional Chinese heritage and modernity. This research underscores the importance of further study on the lyrics and vocal styles to enrich understanding and appreciation of this musical form.
Copyright (c) 2025 Li Mao Lin, Shafizan bin Sabri https://creativecommons.org/licenses/by-sa/4.0
Expressive and Structural Ornamentation in Handel’s Vocal Music: A Literature and Score-Based Study
This study investigates the stylistic features and functions of ornamentation in Handel’s vocal arias, addressing the challenge posed by the absence of detailed notations in his works. The research focuses on the dual role of ornamentation as both decorative and structural, aiming to bridge historical scholarship with modern performance practices. The methodology involves a comprehensive literature study of historical treatises, including works by Tosi, Agricola, and Quantz, alongside a score-based analysis of selected Handel arias to identify and interpret ornamentation practices. Findings highlight the expressive and structural functions of ornaments, such as enhancing melodic connectivity, harmonic depth, and emotional expression. The study emphasizes the performer’s discretion in applying ornaments, particularly in improvisatory contexts like da capo arias. This research contributes to understanding Handel’s compositional intentions and offers valuable insights for historically informed performance (HIP). Future studies could explore cross-genre ornamentation, technological applications, and evolving audience perceptions of Baroque vocal embellishments
Copyright (c) 2025 Xiong Chenchen, Yap Jin Hin https://creativecommons.org/licenses/by-sa/4.0
Kompetensi Guru dalam Mengajar Notasi Balok pada Siswa Sekolah Dasar
Guru Seni Budaya dan Keterampilan (SBK) di Sekolah Dasar Kota Binjai yang mengajarkan materi seni musik bukan berlatar belakang pendidikan seni musik, hal ini menyebabkan pembelajaran musik terutama notasi balok tidak maksimal. Oleh sebab itu penelitian ini bertujuan untuk mendeskripsikan permasalahan guru dalam mengajar notasi balok siswa Sekolah Dasar di Kota Binjai dan mendeskripsikan kompetensi dalam mengajar notasi balok ditinjau dari kompetensi pedagogik, profesional, sosial dan kepribadian. Penelitian ini menggunakan pendekatan penelitian kualitatif jenis deskriptif kualitatif dengan pengumpulan data dari narasumber terkait. Teknik pengumpulan data yang dilakukan adalah observasi, wawancara, dokumentasi. Hasil dari penelitian ini ditemukan permasalahan yang dihadapi guru dalam mengajarkan notasi balok diantaranya: guru kurang menguasi materi notasi balok, siswa kurang semangat untuk pembelajaran Seni Musik, kurangnya media untuk pembelajaran seni musik, kurangnya kreativitas guru-guru untuk pembelajaran Seni Musik. Kompetensi guru dalam mengajarkan seni musik dapat ditinjau dari kompetensi pedagogik, guru belum memahami perangkat pembelajaran yang mereka buat dengan bena; kompetensi profesional, guru-guru tidak memahami materi notasi musik; kompetensi sosial bisa dikatakan baik walaupun masih ada guru yang kurang ramah kepada rekan kerja, murid-murid dan masyarakat di lingkungan sekolah; kompetensi kepribadian bisa dikatakan baik karena sangat bertanggung jawab dengan tugas-tugasnya.
Copyright (c) 2024 Adisty Anggraini, Uyuni Widiastuti https://creativecommons.org/licenses/by-sa/4.0
Music is an essential part of our cultural life, a power to enrich our lives, build relationships between people, and shape identities and places. Indonesia's contemporary artistic and cultural life is very diverse, considering that Indonesia has a wide geographical area in Southeast Asia, with more than 17,000 islands “ and is the 4th most populous country in the world. Indonesia has a music landscape that is increasing. Some music is Karawitan from Java and Bali, Keroncong in Java, and Music with Sape from Kalimantan to Malay music in most areas of Sumatra. Indonesian musicians combine the elements of traditional music with elements of pop music. This paper will discuss how pop music from urban areas is combined with traditional music from each region in Indonesiaand then gives a new genre known as musik pop daerah (regional pop music)”the methodology used for this paper qualitative methodwith literature study. The result showed that pop music is a sign that culture”or, in this case, music”is fluid and can change according to the times.
Copyright (c) 2025 Citra Aryandari, Aris Setyawan https://creativecommons.org/licenses/by-sa/4.0
Higher-Order Thinking Skills in Music Education: A Comprehensive Analysis
Researchers have continued to urge the importance of strengthening students' higher-order thinking skills (HOTS) as a key factor for education. Researchers in the field of music education are actively advocating for the enhancement of HOTS among students. To advance research in this area, a thorough and comprehensive literature review is necessary. This review synthesized existing findings to elucidate how HOTS can enhance musical education and performance and offer insights into effective pedagogical strategies. By systematically examining the integration of HOTS in musical contexts, pointing out gaps in research, the study contributed to advancing educational practices and theoretical understanding in this domain. Furthermore, offers insights that can inform the development of future research on HOTS in music teaching and learning.
Copyright (c) 2024 Jiarui Pu, Abdul Rahman Bin Safian, Mohd Nizam Bin Nasrifan https://creativecommons.org/licenses/by-sa/4.0