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All Journal Gorga : Jurnal Seni Rupa Laga-Laga: Jurnal Seni Pertunjukan SAWERIGADING Besaung : Jurnal Seni Desain dan Budaya Musica: Journal of Music Bercadik: Jurnal Pengkajian dan Penciptaan Seni JSRET Scoring: Journal of Film Music

Awerman Awerman

Institu Seni Indonesia Padangpanjang

Author-ID : 1106600

Religion Arts Humanities Computer Science & IT Economics, Econometrics & Finance Education Engineering Languange, Linguistic, Communication & Media Library & Information Science Social Sciences

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Transformasi Bentuk Pertunjukan Ronggeng Pasaman Grup Ganto Saroha Kecamatan Duo Koto Kabupaten Pasaman Fernando, Kurniawan; Martarosa, Martarosa; Awerman, Awerman
Jurnal Seni, Desain dan Budaya Vol 4, No 1
Publisher : Jurnal Seni, Desain dan Budaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (326.737 KB)

AbstractThis study aims to determine the transformation of the Ronggeng Pasaman performance of the Ganto Saroha group in Duo Koto District, Pasaman Regency. Ronggeng Pasaman is a performance art consisting of pantun, joget, and music, especially in Simpang Tonang, Pasaman, West Sumatra. The form of the Ronggeng Pasaman show is combining bouncing skills while dancing to the accompaniment of violin and drum music. The show starts at night, and ends until early morning. Currently Ronggeng Pasaman has undergone a transformation, people, especially young people, are less interested and begin to leave their regional arts, so the Ronggeng Pasaman show is rarely displayed. There was anxiety from the artists themselves, then initiatives emerged to attract the attention of the people. So it formed the Ronggeng Pasaman Ganto Saroha group, with the addition of keyboard music instruments in the show. Unlike the Pasaman Ronggeng Performance in general, the Ganto Saroha group does not show male singers with female appearance, but rather singers are real women or men. This study uses qualitative methods, is analytic description, observant participants. The results showed that the transformation carried out by the artists, made the Ronggeng Pasaman performance of the Ganto Saroha group well received and in great demand by all people in Pasaman, and was fully supported by the local government.Keywords : Form Transformation, Pasaman Ronggeng Performance, Ganto Saroha GroupAbstrakPenelitian ini bertujuan untuk mengetahui transformasi bentuk pertunjukan Ronggeng Pasaman grup Ganto Saroha di Kecamatan Duo Koto, Kabupaten Pasaman. Ronggeng Pasaman merupakan seni pertunjukan? terdiri dari pantun, joget, dan musik, khususnya terdapat di Simpang Tonang, Pasaman, Sumatera Barat. Bentuk pertunjukan Ronggeng Pasaman adalah menggabungkan keahlian berpantun sambil menari dengan iringan musik biola dan gendang. Pertunjukan dimulai pada malam hari, dan berakhir hingga menjelang pagi. Saat ini Ronggeng Pasaman telah mengalami transformasi, masyarakat khususnya anak muda kurang meminati dan mulai meninggalkan kesenian daerahnya, sehingga pertunjukan Ronggeng Pasaman jarang ditampilkan. Terdapat keresahan dari diri seniman, kemudian muncul inisiatif untuk menarik kembali perhatian masyarakatnya. Sehingga dibentuk grup Ronggeng Pasaman Ganto Saroha, dengan penambahan instrument musik keyboard dalam pertunjukannya. Beda dengan Pertunjukan Ronggeng Pasaman? pada umumnya, grup Ganto Saroha tidak menampilkan penyanyi laki-laki berpenampilan perempuan, melainkan penyanyi adalah perempuan atau laki-laki sesungguhnya. Penelitian ini menggunakan metode kualitatif, bersifat deskripsi analitik, partisipan observan. Hasil penelitian menunjukkan bahwa transformasi yang dilakukkan para seniman, membuat pertunjukan Ronggeng Pasaman grup Ganto Saroha diterima dengan baik ?dan diminati semua kalangan masyarakat Pasaman, dan? didukung penuh oleh pemerintahan setempat.Kata kunci : Transformasi Bentuk, Pertunjukan Ronggeng Pasaman, Grup Ganto Saroha

Limpapeh Pada Baju Kuruang Basiba Rahmawati Rahmawati; Ahmad Akmal; Awerman Awerman
Besaung : Jurnal Seni Desain dan Budaya Vol 3, No 3
Publisher : UNIVERSITAS INDO GLOBAL MANDIRI

AbstractLimpapeh or Attacus atlas is a large butterfly with a wingspan wide, which has a reddish brown color and decorated with a bit of white color. Limpapeh usialy found in houses, buildings, on trees, leaves and flowers that blooming. For the people of Minangkabau, limpapeh is the designation for Minangkabau women who have grown up and will be the responsible for maintaining the lineage of the future, based on the maternal lineage will become residents in the house. The form of limpapeh in the creation of this Artwork is such a motif that is found on kuruang basiba clothes, kuruang bsiba clothes is basically a women Minangkabau clothes, that has a characteristic on the side of the shirt called siba and kikik. The presence of limpapeh wings shape on the chest, arms and subordinate makes the clothes more interesting.Keywords : Limpapeh, Clothes Kuruang Basiba Abstrak Limpapeh atau attacus atlas merupakan kupu-kupu besar dengan bentangan sayap yang luas, yang memiliki warna coklat kemerahan dan dihiasi sedikit warna putih. Kebiasaan limpapeh hinggap pada rumah, bangunan, pepohonan, dedaunan dan bunga yang sedang bermekaran. Bagi masyarakat minangkabau limpapeh adalah sebutan untuk perempuan Minangkabau yang sudah beranjak dewasa yang bertanggung jawab menjaga garis keturunan berikutnya, berdasarkan garis keturunan ibu yang akan menjadi penghuni dalam rumah gadang. Bentuk limpapeh dalam penciptaan karya ini adalah sebagai motif dari baju kuruang basiba, baju kuruang basiba merupakan pakaian perempuan Minangkabau yang mempunyai ciri khas yaitu pada bagian samping baju terdapatnyasiba dan kikik. Bentuk sayap limpapeh yang terdapat pada bagian dada, lengan dan bawahan baju serta bentuk limpapeh yang berbentuk utuh yang berterbangan sehingga membuat baju kuruang basiba, ini lebih menarikKata kunci : Limpapeh, Baju Kuruang Basiba

LIMPAPEH PADA BAJU KURUANG BASIBA Rahmawati Rahmawati; Ahmad Akmal; Awerman Awerman
Gorga : Jurnal Seni Rupa Vol 7, No 2 (2018): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v7i2.10946

AbstrakLimpapeh atau attacus atlas merupakan kupu-kupu besar dengan bentangan sayap yang luas, yang memiliki warna coklat kemerahan dan dihiasi sedikit warna putih. Kebiasaan limpapeh hinggap pada rumah, bangunan, pepohonan, dedaunan dan bunga yang sedang bermekaran. Bagi masyarakat Minangkabau limpapeh adalah sebutan untuk perempuan Minangkabau yang sudah beranjak dewasa yang bertanggung jawab menjaga garis keturunan berikutnya, berdasarkan garis keturunan ibu yang akan menjadi penghuni dalam rumah gadang. Bentuk limpapeh dalam penciptaan karya ini adalah sebagai motif dari baju kuruang basiba, baju kuruang basiba merupakan pakaian perempuan Minangkabau yang mempunyai ciri khas yaitu pada bagian samping baju terdapatnya siba dan kikik. Bentuk sayap limpapeh yang terdapat pada bagian dada, lengan dan bawahan baju serta bentuk limpapeh yang berbentuk utuh yang berterbangan sehingga membuat baju kuruang basiba, ini lebih menarik. Kata Kunci: limpapeh, baju kuruang, basiba AbstractLimpapeh or attacus atlas is a large butterfly with a broad stretch of wings, which has a reddish brown color and is decorated with a little white color. The habit of leaking on the house, building, trees, leaves and flowers are blooming. For Minangkabau people limpapeh is a term for Minangkabau women who have grown up who are responsible for maintaining the next lineage, based on the maternal lineage that will become residents in the gadang house. The form of limpapeh in the creation of this work is as a motif of kuruang basiba clothes, kuruang basiba clothes are Minangkabau women's clothing which has the characteristic that on the side of the shirt there is siba and kikik. The limpapeh wing shape that is found on the chest, arms and subordinates of the clothes as well as the full shape of the limpapeh which flies to make kuruang basiba clothes, this is more interesting. Keywords: limpapeh, kuruang basiba's clothes

BENTUK SENI PERTUNJUKAN RONGGENG PASAMAN DI KABUPATEN PASAMAN SUMATERA BARAT Kurniawan Fernando; Martarosa Martarosa; Awerman Awerman
Gorga : Jurnal Seni Rupa Vol 7, No 2 (2018): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v7i2.11066

AbstrakPenelitian ini bertujuan untuk mengetahui bentuk seni pertunjukan Ronggeng Pasaman di Kabupaten Pasaman, Sumatera Barat. Ronggeng Pasaman merupakan seni pertunjukan terdiri dari pantun, joget, dan musik, khususnya terdapat di Kabupaten Pasaman, Sumatera Barat. Bentuk pertunjukan Ronggeng Pasaman adalah menggabungkan keahlian berpantun sambil menari dengan iringan musik biola dan gendang. Pertunjukan dimulai pada malam hari, dan berakhir hingga menjelang pagi. Beberapa grup Ronggeng Pasaman yang berada di Kabupaten Pasaman saat ini juga menampilkan pertunjukan Ronggeng Pasaman yang dikemas lebih kekinian dan menggunakan alat musik modern, sehingga Ronggeng Pasaman bisa dinikmati dengan dua versi, yaitu tradisi dan modern. Adapun dalam pertunjukan Ronggeng Pasaman modern yaitu menggunakan instrumen musik keyboard dan tidak menampilkan penyanyi atau Anak Ronggeng yang berpenampilan seperti perempuan dalam pertunjukannya. Tentunya kemajuan teknologi dimanfaatkan para seniman dalam pertunjukan Ronggeng Pasaman agar kesenian tersebut tetap hidup, berkembang dan terus diminati masyarakatnya. Penelitian ini menggunakan metode kualitatif, bersifat deskripsi analitik, partisipan observan. Hasil penelitian menunjukkan bahwa pertunjukan Ronggeng Pasaman dalam bentuk tradisi ataupun dalam bentuk modern oleh masyarakatya diterima dengan baik dan juga didukung penuh oleh pemerintah setempat. Kata Kunci: bentuk pertunjukan, ronggeng Pasaman Sumatera Barat. AbstractThis study aims to find out the art form of Pasaman Ronggeng performances in Pasaman Regency, West Sumatra. Ronggeng Pasaman is a performance art consisting of pantun, joget, and music, especially in Pasaman Regency, West Sumatra. The form of the Ronggeng Pasaman show is combining bouncing skills while dancing to the accompaniment of violin and drum music. The show starts at night, and ends until early morning. Some Ronggeng Pasaman groups in Pasaman Regency also present Ronggeng Pasaman performances which are packed more recently and use modern musical instruments, so Ronggeng Pasaman can be enjoyed in two versions, namely traditional and modern. As for the modern Rongaman Ronggeng show, it uses keyboard music instruments and does not display Ronggeng singers or children who look like women in their performances. Of course, technological advances are utilized by the artists in the Ronggeng Pasaman show so that the art will continue to live, develop and continue to be in demand by the community. This study uses qualitative methods, is analytic description, observant participants. The results showed that the performance of Pasaman Ronggeng in the form of tradition or in modern form by the community was well received and was also fully supported by the local government. Keywords: form of performance, ronggeng Pasaman West Sumatra.

LIMINALITY DALAM PENCIPTAAN MUSIK PROGRAMA Janeru Kennedy; Awerman Awerman; IGN Wiryawan Budhiana
Bercadik: Jurnal Pengkajian dan Penciptaan Seni Vol 4, No 2 (2017): Bercadik: Jurnal Pengkajian dan Penciptaan Seni
Publisher : Institut Seni Indonesia Padang Panjang

ABSTRACT The music entitled “Liminality” is inspired by author’s anxiety toward a phenomenon of liminality between the idealism of classical music (western) and traditional music (eastern) that each of them has the strength on its composition technique and discipline. This musical creation represents the condition of liminality materialized into music composition. This music composition is composed of three parts of orchestra style that consist of traditional idioms conveyed through the conventional method of western music. Pra Liminal describes a self-identity (tradition). Liminal describes ambiguity, and then Post Liminal is the achievement of a new identity that does not eliminate old identity. Keywords: Liminality, Pra Liminal, Liminal, Post Liminal, Traditional, Western Music

FENOMENAL YOESBAR DJAELANI SEBAGAI TOKOH MUSIK INDONESIA (SEBUAH BIOGRAFI) Ayu Rizal; Awerman Awerman; Wilma Sriwulan
Bercadik: Jurnal Pengkajian dan Penciptaan Seni Vol 4, No 1 (2017): Bercadik: Jurnal Pengkajian dan Penciptaan Seni
Publisher : Institut Seni Indonesia Padang Panjang

ABSTRACT The title of this writing is “The Phenomenal Yoesbar Djaelani as The Figure of Indonesian Music (A Biography).” Its discussion emphasizes on the study of assumptions about the figure phenomenon, Yoesbar Djaelani as an Indonesian composer. This reality is based on the achievement of Yoesbar Djaelani’s creativity as the participant of Pekan Komponis Muda (in English is translated into Young Composer Week) in 1976 and in 1977 organized Jakarta Art Council in Ismail Marzuki Park, Jakarta.Those assumptions have been documented in the various books of Indonesian music education such as the books of Music History, Music Appreciation, and Music Encyclopedia. Therefore, those assumptions above have been realized into facts since those books firstly published in the 1990s and that means until 2015, it has been 25 years.The above outlook becomes a phenomenon in musicology point of view because, in Indonesia, there are many definitions and translations toward composer. Nowadays, the composer of traditional music, the composer of dance accompaniment music, songwriter, arranger, and much more are also called as a composer. After going through contextually long and deep investigation about the composer and being supported by historical and musicological reviews, it can be concluded that Yoesbar Djaelani’s position has fulfilled the requirement as one of the Indonesian music figures. Keywords: Phenomenon, Composer, Music Figure, Biography.

CANANG FANTASIA UNTUK ORKESTRA: KOMPOSISI MUSIK PROGRAMA Randi Restu Hadi; Awerman Awerman; IGN Wiryawan Budhiana
Bercadik: Jurnal Pengkajian dan Penciptaan Seni Vol 4, No 1 (2017): Bercadik: Jurnal Pengkajian dan Penciptaan Seni
Publisher : Institut Seni Indonesia Padang Panjang

ABSTRACT Canang is an oral naming for the tradition of wording implementation in the society of Kuantan Singingi district, Riau province. Canang has unique characteristics in its implementation namely: always presenting calempong sound with certain rhythm patterns before the content of the message is delivered by tukang canang based on its whole implementation procedure and message content, the authors intertwine several small parts in order to materialize them into a musical work. Those parts are communication and tuah. The creation of this work was started by conducting identification toward the characteristics of procedures and benefits of canang implementation. The composition of several musical elements such as harmony, tempo, dynamics, and so on was interpreted into communication and tuah in the form of programa music. Keywords: Canang, Communication, Tuah

ESTETIKA TARI PIRING DALAM SALUANG DANGDUT DI NAGARI KUNCIR KABUPATEN SOLOK Syaiyidatul Nur Fatimah; Erlinda Erlinda; Awerman Awerman
Bercadik: Jurnal Pengkajian dan Penciptaan Seni Vol 3, No 1 (2016): Bercadik: Jurnal Pengkajian dan Penciptaan Seni
Publisher : Institut Seni Indonesia Padang Panjang

ABSTRACT Piring dance in Kuncir village is a dance existed in Kuncir village, X Koto Diatas sub-district, Solok district, West Sumatra. Piring dance in Kuncir village can be danced by man or woman with the number of dancers is two until three dancers. The source of dance movement is related to human, nature and animal. Nowadays, the performance of Piring dance in Kuncir village has been performed together in the performance of Saluang Dangdut in Solok region. Factors that affected the aesthetics of Piring dance in the performance of Saluang Dangdut consisted of two factors namely internal factor including all artists’ creativities, choreography, local identity; and external factor. Reseach results revealed the form, social change and aesthetics found in the performance of Piring dance in Kuncir village and Piring dance in the performance of Saluang Dangdut. The aesthetic value of Piring dance in Kuncir village was reflected in the elements forming Piring dance in Kuncir village from the game played to the performance of Saluang Dangdut. Keywords: Aesthetics, Piring dance, Saluang Dangdut, Kuncir Village

KOMPOSISI, FUNGSI DAN NILAI DAMPIANG SURANTIAH Firda Riki Arta; Awerman Awerman; Zainal Warhat
Bercadik: Jurnal Pengkajian dan Penciptaan Seni Vol 4, No 2 (2017): Bercadik: Jurnal Pengkajian dan Penciptaan Seni
Publisher : Institut Seni Indonesia Padang Panjang

ABSTRACT This study aims at seeing the composition, function, and value of dampiang that exists in Surantiah people, Pesisir Selatan. Surantiah people use dampiang as the accompaniment in the event of maanta marapulai (= escorting bridegroom). The tradition that performs dampang is known as the name ‘badampiang,’ and it has been practiced hereditarily by people. Dampiang composition will be analyzed by using Kusumawati’s view, that the elements of music composition involve rhythm, melody, harmony, form, and color. Dampiang function will be analyzed by using Alan P. Merriam’s view. The analysis of dampiang value will be conducted by using value proposed by Max Scheler. This study concludes that dampiang is the lyric in the form of pantun that contains messages for the bridegroom. Dampiang composition is formed by flat rhythm and melody built by dampiang harmony. Dampiang has the function as emotional expression, cultural preservation, and societal integration. Dampiang in Surantiah people does not have the function of enjoyment. Dampiang has a value that reflects something believed and considered of by Surantiah people. Value contained in dampiang involves This study is expected to be able to widen the studies about dampiang and other traditional arts. It is also expected to become the part of preservation and development forms of traditional art-culture.

Interpretasi Repertoar Danzas Espanolas Op.37, Concerto De Aranjuez, Aek Sekotak, dan Moliendo Café pada Pertunjukan Gitar (Interpretation of the Repertoire of Danzas Espanolas Op.37, Concerto De Aranjuez, Aek Sekotak, and Moliendo Café on Guitar performances) Muhammad egi; Supriando Supriando; Awerman Awerman
MUSICA : Journal of Music Vol 1, No 2 (2021): MUSICA : JOURNAL OF MUSIC
Publisher : Institut Seni Indonesia Padangpanjang

Artikel ini memuat tentang pertunjukan musik dan interpreatsi penyaji terhadap musik yang dipertunjukkan. Pertunjukan yang disajikan berasal dari berbagai era seperti romantik, modern, melayu dan popular yang dikemas kedalam sebuah pertunjukan solis gitar dengan menggunakan kaidah pertunjukan konvensional. Repertoar pertama dalam pertunjukan adalah repertoar era romantik yang berjudul Danzas Espanolas Op.37 dengan komposer Pantaleon Enrique Joaquen Granados atau yang lebih dikenal sebagai Enrique Granados. Repertor kedua adalah Concerto De Aranjuez dengan komposer Joaquin Radrigo Radrigo yang ditampilkan dalam format orkestra. Repertoar ketiga adalah Aek Sekotak merupakan lagu melayu daerah Provinsi Jambi yang diciptakan oleh NN (No Name). Moliendo Café disajikan sebagai repertoar terakhir yang merupakan komposisi musik ciptaan komposer Venezuela Jose Manzo Perroni pada tahun 1961. Masalah dalam artikel ini adalah terkait bagaimana penyaji gitar melakukan interpretasi terhadap karya yang dimainkan. Tujuan penulisan artkel ini adalah untuk menjabarkan interpretasi penyaji untuk mewujudkan sebuah pertunjukan yang baik. Hasil dalam artikel ini berupa interpretasi penyaji terhadap seluruh komposisi musik yang dimainkan dalam pertunjukan.Kata kunci: Pertunjukan; Gitar Klasik; Solis; Teknik; InterpretasiABSTRACTThis article contains about musical performances and the interpretation of the music presenters who are performed. The shows presented are from various eras such as romantic, modern, Malay and popular which are packaged in a solo guitar performance using conventional performances. The first repertoire in the show is a repertoire-era romance entitled Danzas Espanolas Op.37 with Pantaleon composer Enrique Joaquen Granados or better known as Enrique Granados. The second repertoire is the Concerto De Aranjuez with composer Joaquin Radrigo Radrigo performed in an orchestral format. The third repertoire is Aek Sekota, a Malay song from the Jambi Province, which was created by NN (No Name). Moliendo Café is presented as the last repertoire which is a musical composition created by Venezuelan composer Jose Manzo Perroni in 1961. The problem in this article is related to how guitar presenters interpret the works played. The purpose of writing this article is to describe the interpretation of the presenter to create a good show. The results in this article are in the form of the presenter's interpretation of all musical compositions played in the show.Keywords: Performance; Classical Guitar; Solis; Technique; Interpretation

Co-Authors Achmad Junaidi Ahmad Akmal Arta, Firda Riki Ayu Rizal Bambang Wijaksana Budhiana, IGN Wiryawan Emridawati Emridawati Erlinda Erlinda Erlinda Fatimah, Syaiyidatul Nur Fernando, Kurniawan Firda Riki Arta Hajizar, Hajizar Hajizar Herwan Fakhrizal Ibnu Sina Idun Ariastuti IGN Wiryawan Budhiana IGN Wiryawan Budhiana Janeru Kennedy Kennedy, Janeru Kurniawan Fernando Marta Rosa Martarosa Martarosa Masvil, Masvil Tommy Muhammad egi Nurmalena Nurmalena Rahmawati Rahmawati Randi Restu Hadi Randi Restu Hadi Reni Alvionita Rizal, Ayu Supriando, Supriando Syaiyidatul Nur Fatimah Warhat, Zainal Wilma Sriwulan Wilma Sriwulan Yon Hendri Yurisman Zainal Warhat

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