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All Journal Jurnal Penelitian Humaniora Imaji: Jurnal Seni dan Pendidikan Seni Harmonia: Journal of Research and Education Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik Virtuoso: Jurnal Pengkajian dan Penciptaan Musik
Birul Walidaini
Universitas Negeri Yogyakarta
Arts Humanities Education Environmental Science Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Social Sciences

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Formula Latihan Teknik Tangan Kanan dalam Gitar Klasik: Shearer, Parkening, dan Werner Walidaini, Birul
Virtuoso: Jurnal Pengkajian dan Penciptaan Musik Vol 3, No 2 (2020)
Publisher : Universitas Negeri Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26740/vt.v3n2.p89-96

Abstract

Classical guitar developed until now. Aspects and the surrounding area have also experienced developments such as the creation of new compositions, innovation in guitar construction, and the holding of performances that accommodate classical guitar. However, the author tries to raise another area that is quite important in learning classical guitar, namely the teaching method. Along with the development of the times and technology, the basic methods of learning classical guitar are becoming less attention. This article aims to dissect the most basic classical guitar methods and are limited to techniques and instructions for the right hand. This research is a descriptive study with a qualitative design and the classical guitar method book document as an object. The objects raised are the classic Classic Guitar Technique from Aaron Shearer (1963), The Christoper Parkening Guitar Method, Vol. 1 (1997), and the Classical Guitar Method from Bradford Werner (2017). The results of this study present the formula of each method offered to train the right hand in playing classical guitar in their own way. In closing, the authors hope that the classical guitar method remains the basis for learning classical guitar and is further developed in the future.Keywords: classical guitar, right hand, classical guitar method
8Th Century Musical Instrument on Kalasan Temple’s Relief Pradoko, Susilo; Widyastuti, Maria Goretti; Fu'adi, Fu'adi; Walidaini, Birul
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.v21i1.28530

Abstract

This research aims to unveil the types, size, figures, and functions of musical instruments carved as reliefs of Kalasan Temple as a way to revitalize the music from the 8th century. This research implements heuristic methods with Panofsky's iconology analysis in three steps, which are pre-iconography, iconography, and iconology to analyse the reliefs of the Temple. The researchers validated the findings through forum group discussion with the Cultural Heritage Preservation Board of Yogyakarta. The findings show that (1) the relief of musical instruments in Kalasan temple is located on the head of Kala; (2) the musical instruments on the head are two wind instruments made of shells and a stringed instrument named vina; (3) there are two figures of musicians carved, which are two wind instruments players and a player of stringed instruments. The figures are depicted as heavenly creatures named Gandharva; (4) the measurement shows that the wind instruments have 35.98 cm length and 12.85 cm width, another one has 23.13 cm length and 12.85 cm width. Meanwhile, the stringed instrument has a length of 92.52 cm and 12.85 cm width; and (5) the musical instruments were performed to worship the Goddess of Tara.
Analisis Tekstual Koyunbaba Karya Carlo Domeniconi: Bentuk dan Struktur Bagian I Moderato Birul Walidaini
Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik Vol 2 No 2 (2020)
Publisher : Program Studi Pendidikan Musik FBS UNP

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/musikolastika.v2i2.53

Abstract

Penelitian ini bertujuan untuk mendeskripsikan bentuk dan struktur musik bagian I Moderato dari Koyunbaba karya Carlo Domeniconi. Penelitian ini merupakan penelitian deskriptif kualitatif. Subjek penelitian ini yaitu teks atau partitur lagu Koyunbaba (Suite Für Gitarre Op.19) karya Carlo Domeniconi. Penelitian difokuskan pada bentuk dan struktur musik dari koyunbaba bagian pertama yaitu I Moderato. Data utama dalam penelitian ini adalah teks atau partitur dari koyunbaba. Hasil penelitian menunjukkan bahwa jumlah birama dalam bagian pertama I Moderato ini adalah empat puluh dua birama. Setelah dianalisis strukturnya berdasarkan ilmu bentuk dan analisis musik, maka terdapat delapanperiode atau kalimat yang didalam setiap periode berisikan anak kalimat dan motif. Pada bagian pertama I Moderato, motif-motif yang dituliskan merupakan motif yang berpotensi diulang pada bagian-bagian selanjutnya. Bagian pertama ini juga berfungsi sebagai introduction atau pengenalan terhadap karya koyunbaba ini. Dalam bagian pertama ini ditemukan motif-motif yang cukup beragam karena dalam sejarahnya karya ini merupakan hasil improvisasi yang dituliskan ke dalam partitur.
Formula Latihan Teknik Tangan Kanan dalam Gitar Klasik: Shearer, Parkening, dan Werner Birul Walidaini
Virtuoso: Jurnal Pengkajian dan Penciptaan Musik Vol. 3 No. 2 (2020)
Publisher : Universitas Negeri Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26740/vt.v3n2.p89-96

Abstract

Classical guitar developed until now. Aspects and the surrounding area have also experienced developments such as the creation of new compositions, innovation in guitar construction, and the holding of performances that accommodate classical guitar. However, the author tries to raise another area that is quite important in learning classical guitar, namely the teaching method. Along with the development of the times and technology, the basic methods of learning classical guitar are becoming less attention. This article aims to dissect the most basic classical guitar methods and are limited to techniques and instructions for the right hand. This research is a descriptive study with a qualitative design and the classical guitar method book document as an object. The objects raised are the classic Classic Guitar Technique from Aaron Shearer (1963), The Christoper Parkening Guitar Method, Vol. 1 (1997), and the Classical Guitar Method from Bradford Werner (2017). The results of this study present the formula of each method offered to train the right hand in playing classical guitar in their own way. In closing, the authors hope that the classical guitar method remains the basis for learning classical guitar and is further developed in the future.Keywords: classical guitar, right hand, classical guitar method
Eklektik filosofis, teknis, dan psikologis bermain biola dalam pengembangan pembelajaran musik di Indonesia Fu'adi Fu'adi; Birul Walidaini; Agustianto Agustianto; Sritanto Sritanto
Imaji Vol 21, No 1 (2023): IMAJI APRIL
Publisher : FBS UNY

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21831/imaji.v21i1.58360

Abstract

In learning the violin, there are various kinds of challenges and obstacles, both technical and non-technical. Strong motivation is needed, supported by appropriate learning methods so that students can develop into capable violinists. This article outlines the philosophical, technical, and psychological aspects of violin learning by world-class violin pedagogues, which are then analyzed in an eclectic manner in order to obtain new approaches that can be applied to develop violin learning in Indonesia. The literature review method is used to select important aspects used in violin learning. The research results show important points of philosophical study in learning the violin include philosophy in starting to learn the violin, mental approach, emotional aesthetics, and talent in music. Technical and psychological studies include body position in playing the violin, sound production, intonation, vibrato, legato, musical nuances, psychological musicians, and the repertoire played. It can be interpreted that these selected and analyzed philosophical, technical, and psychological values of how to play the violin can become the basis for understanding and efforts to build students' capabilities in playing the violin in a comprehensive manner, in accordance with the Indonesian cultural background. Keywords: Eclectic, philosophy, violin technique, musical learning
Penerapan Model Student Centered Learning dalam Pembelajaran Musik Birul Walidaini
Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik Vol 5 No 1 (2023)
Publisher : Program Studi Pendidikan Musik FBS UNP

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/musikolastika.v5i1.116

Abstract

Purpose: Learning is a process that involves the teacher and the learning participants. In learning, a model is needed as a reference in carrying out learning. Methods. Methods used include pre-instructional, core learning, and evaluation. This model broadens learners' horizons through active involvement in deep guitar practice. Educators act as facilitators who help students develop musical skills and understanding. Result and Discussion: This paper will describe the application of the student-centred learning model to music learning, specifically in guitar repertoire class, one of the subjects in the music arts education department of FBSB UNY. The characteristic of the student-centred learning model is to place participants or students as the centre of learning and the role of educators as bodyguards and facilitators. At the same time, the stages in its implementation are pre-instructional or planning, the core of learning and evaluation. The results of student-centred learning in guitar repertoire class courses are: (1) the Student-centred Learning model broadens students' horizons, (2) Student-Centered Learning requires the teacher to act as a facilitator in learning practice.
Modal budaya dalam pemetaan kualitas pendidikan Birul Walidaini
Jurnal Penelitian Humaniora Vol 25, No 1 (2020)
Publisher : LPPM UNY

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (750.776 KB) | DOI: 10.21831/hum.v25i1.33283

Abstract

Artikel ini mendeskripsikan tentang peran modal budaya dalam pemetaan kualitan pendidikan. Artikel ini didasari dari review buku “Cultural Capital Rvaluing the Arts, Remaking Urban Spaces” yang ditulis Louse C. Johnson. Dalam buku “Cultural Capital Rvaluing the Arts, Remaking Urban Spaces” yang ditulis Louse C. Johnson dapat dilihat bagaimana modal budaya berperan penting dalam membangun sebuah kota dan memberikan identitas didalamnya. Buku “Cultural Capital Rvaluing the Arts, Remaking Urban Spaces” yang ditulis Louse C. Johnson  memberikan contoh kota yang kembali dibangun dengan menerapkan konsep modal budaya. Hasil yang didapat dari buku “Cultural Capital Rvaluing the Arts, Remaking Urban Spaces” yang ditulis Louse C. Johnson adalah deskripsi tentang konsep modal budaya dari Bordieu dan deskripsi tentang pembangunan berkelanjutan di perkotaan. Kemudian dilanjutkan dengan mendeskripsikan pengaruh modal sosial terhadap sistem pendidikan dan sistem sekolah. hasil artikel ini adalah modal budaya memberikan pengaruh terhadap peningkatan kualitas pendidikan, dan konsep- konsep modal budaya dapat diterapkan dalam menjalankan sistem pendidikan dan sistem sekolah.Kata kunci: modal budaya, kualitas pendidikan
Co-Authors A. M. Susilo Pradoko Agustianto Agustianto Fu'adi Fu'adi Fu'adi, Fu'adi Sritanto Sritanto Widyastuti, Maria Goretti