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PROSES PENCIPTAAN KOMPOSISI MUSIK KYAI BADRANAYA DALAM KARYA MUSIK KIDUNG SEMAR Aris Setyoko; Rahayu Supanggah
CaLLs: Journal of Culture, Arts, Literature, and Linguistics Vol 4, No 2 (2018): December 2018
Publisher : Fakultas Ilmu Budaya, Universitas Mulawarman

Kyai Badranaya is another name for figures in the purwa puppet show which is a symbolic figure for Javanese people. The special symbolic means to have variations, concepts of life, and beliefs in Javanese society. In the Javanese purwa puppet show, Semar figures are representations of good and wise qualities in human beings. Real Semar figures are also gods who transformed into commoners and became servants, protectors, and also knights of Pandawa namely Yudhistira, Bima, Arjuna, Nakula, and Sadewa in the Javanese version of the Mahabharata epics. The musical composition of Kyai Badranaya is part of the four musical compositions of Kidung Semar by the author, who presents musical performances with ideas from the values and semar phenomenon of Semar figures in the purwa puppet show in Java. The method is carried out through stages, namely the alignment process, and sound training. With this method, the music composition of Kyai Badranaya is compiled and presented in the form of a musical repertoire, which proposes reflection and thoughts about how one becomes a leader who applies the life concept of Semar, namely tepa selira, lembah manah, and andhap asor. The purpose of various organizations is the application used as a learning medium for the general public in the form of new music works. The result of the creation of this musical composition work is to contribute scientific thinking on how to create new music works by utilizing work from traditional sources of Javanese musical music in particular, as well as archipelago music.

Gagrak Blitaran: Proses Belajar Kebudayaan di Paguyuban Turonggo Budoyo Mugirejo David Bagus Yulinanda; Yofi Irvan Vivian; Aris Setyoko
Jurnal Mebang: Kajian Budaya Musik dan Pendidikan Musik Vol. 1 No. 1 (2021)
Publisher : Program Studi Etnomusikologi, Fakultas Ilmu Budaya, Universitas Mulawarman

Turonggo Budoyo Mugirejo is a Kuda Lumping group Gagrak Blitaran in the city of Samarinda through the transmigration process. Gagrak Blitaran, on its own, was the identity of this group. The process of learning culture alone played a crucial role in preserving Kuda Lumping Gagrak Blitaran in Samarinda. This study aims to explain the characteristics of Gagrak Blitaran’s music; describe the process of self-study at the Turonggo Budoyo Mugirejo. The study employs qualitative methodologies by applying three phases, some of which define the location of research, data collection techniques, and analysis. Determination of the location aims to focus on the object of research. Data-collection techniques include library studies, informers, interviews, and documentation. The last one is the analysis technique by utilising field data. The study results in accord with the background of the problem and the purpose of the study. Gagrak Blitaran’s music characteristic have been achieved through the four rhythms of sampak, gangsaran, dua-satu (pegon and dangdutan), and satu-satu. The instruments on which these rhythms are based are the kenong, kempul, gong suwukan, and gong ageng. The process of learning its own culture includes internalisation, socialisation and enculturation. The three processes allow each member of the company to have a deeper understanding of Kuda Lumping. It involves a dance technique, beating the Gamelan according to the characteristic of Kuda Lumping Gagrak Blitaran.

Ornamentasi Vokal pada Tarsul Kutai Kartanegara Zamrud Whidas Pratama; Aris Setyoko; Fikri Yassar Arozaq
Jurnal Mebang: Kajian Budaya Musik dan Pendidikan Musik Vol. 1 No. 1 (2021)
Publisher : Program Studi Etnomusikologi, Fakultas Ilmu Budaya, Universitas Mulawarman

One form of singing or chanting spread through cultural needs is a traditional song originating from Kutai Kartanegara called tarsul. This study aimed to obtain data about what vocal ornaments are contained in the Kutai tarsul. The theory used in this research is the theory of music presentation forms, ornamentation, and western music vocal techniques. A qualitative descriptive study was chosen by prioritizing the musicology approach. The data was collected by (1) literature study, (2) observation, (3) interviews, (4) documentation. The stages in analyzing data are (1) data reduction, (2) data presentation, (3) historiography writing, and (4) conclusions. Data clarification was again carried out using data triangulation techniques. The results showed two kinds of tarsul rhythms commonly used by petarsul, namely tarsul with one rhythm (low) and tarsul with a rhythm of two (high). In Kutai Kartanegara's tarsul, there are several ornaments. Many melismatic ornaments are found at the end of the melody of each part of the tarsul sentence. There are three forms of melismatic ornamentation named for easy classification: melismatic ornament A, melismatic ornament B, and melismatic ornament C. Apart from melismatic ornamentation, there is symbolic ornamentation on tarsul, namely trill ornamentation. Next is the morden ornamentation. More specifically, lower mordent ornamentation was found. Lastly is the use of grupetto ornamentation. From the transcription and tarsul analysis of rhythm patterns 1 and 2, it was found groupetto reverse turn ornamentation.

Dekonstruksi Makna Datun Kendau pada Masyarakat Kenyah di Desa Budaya Pampang Septiana Lenjau; Bayu Arsiadhi Putra; Aris Setyoko
Jurnal Mebang: Kajian Budaya Musik dan Pendidikan Musik Vol. 1 No. 1 (2021)
Publisher : Program Studi Etnomusikologi, Fakultas Ilmu Budaya, Universitas Mulawarman

In the Kenyah community in the Pampang Cultural Village, Datun Kendau has undergone many changes, which are more likely to add Sampe and change the lyrics of the song to the Kenyah language commonly used in Pampang Village. This study aims to describe the form and meaning of Datun Kendau in the Kenyah community in Pampang Cultural Village. This research uses qualitative methods with observation techniques, data collection techniques and data analysis. The observation technique includes the object of study and the determination of informants. Data collection techniques include literature study, interviews, and documentation. Finally, data analysis techniques using field data. The results show that the Datun Kendau show's form has changed, which consists of a simple musical structure and consists of repeated melodic motifs. Datun Kendau has adapted to the activities of tourism events and young Kenyah artists' interests in Pampang Village. The creation of the reality of the meaning of Datun Kendau is interpreted as a way of adaptation, the formality of performances, and activities that are profitable and occur because of broken communication between the older generation and the younger generation

Proses Kreativitas dan Penerimaan Masyarakat: Studi Kasus Musik Pengiring Jaranan Syam Aditya Herlangga; Bayu Arsiadhi Putra; Aris Setyoko
Jurnal Mebang: Kajian Budaya Musik dan Pendidikan Musik Vol. 1 No. 2 (2021)
Publisher : Program Studi Etnomusikologi, Fakultas Ilmu Budaya, Universitas Mulawarman

Abstract: Turonggo Karyo Budoyo is one of the Jaranan arts groups in the city of Samarinda. This group managed to maintain its existence amidst the reduced public interest in the performing arts of jaranan, especially the youth who should be the successors in preserving local arts. It is done through the creativity offered by the Jaranan Turonggo Karyo Budoyo Art Group, which combines pop songs with jaranan gending in their performances. This study aims to analyze the processes that occur in creativity and describe how the audience's acceptance of creativity. This study uses a qualitative research methodology and a participant approach using 3 (three) stages in the study, namely determining the research location, data collection techniques, and data analysis techniques. Determination of the location aims to focus on the object of research. Data collection techniques include literature study, observation, interviews, and documentation. As for the data analysis technique using data triangulation between researcher observations, interview data, and analyzed documentation. The results of this study can answer the formulation of the problem and research objectives that have been determined. The creative process is carried out through regular practice by paying attention to the budget, duration, and song selection. The process also involves four dimensions of creativity that influence each other: person, process, press, and product. The creativity offered is well received by the public or audience. The community considers combining pop songs with gending to be one way to introduce Javanese art to the broader community, especially young people, to be preserved. Abstrak: Turonggo Karyo Budoyo merupakan salah satu grup kesenian jaranan yang ada di kota Samarinda. Grup ini berhasil mempertahankan eksistensinya ditengah berkurangnya minat masyarakat terhadap seni pertunjukan jaranan terutama para pemuda yang seharusnya menjadi penerus dalam melestarikan kesenian daerah. Hal ini dilakukan melalui kreativitas yang ditawarkan oleh Grup Kesenian Jaranan Turonggo Karyo Budoyo, yaitu menggabungkan lagu pop dengan gending jaranan dalam pertunjukannya. Tujuan penelitian ini adalah menganalisa proses yang terjadi di dalam kreativitas serta menjabarkan bagaimana penerimaan penonton terhadap kreativitas tersebut. Penelitian ini menggunakan metodologi penelitian kualitatif dan pendekatan partisipan dengan menggunakan 3 (tiga) tahapan dalam penelitian, yaitu menentukan lokasi penelitian, menentukan teknik pengumpulan data serta menentukan teknik analisa data. Penentuan lokasi bertujuan untuk memfokuskan objek penelitian. Teknik pengumpulan data meliputi studi kepustakaan, observasi, wawancara, dan dokumentasi. Adapun untuk teknik analisa data menggunakan tringulasi data antara observasi peneliti, data wawancara, dan dokumentasi yang dianalisis. Hasil penelitian ini mampu menjawab rumusan masalah dan tujuan penelitian yang telah ditentukan. Proses kreativitas dilakukan melalui latihan rutin dengan memperhatikan budget, durasi serta pemilihan lagu. Dalam prosesnya juga melibatkan empat dimensi kreativitas yang saling mempengaruhi, yaitu person (orang), process (proses), press (tekanan), serta product (produk). Kreativitas yang ditawarkan diterima baik oleh masyarakat (penonton). Penggabungan lagu pop dengan gending dinilai masyarakat menjadi salah satu cara memperkenalkan kesenian jawa kepada masyarakat luas terutama para pemuda agar dapat dilestarikan.

Faktor-Faktor Kesulitan Pembelajaran Praktik Karawitan Jawa Program studi Etnomusikologi Fakultas Ilmu Budaya Universitas Mulawarman Aris Setyoko; Zamrud Whidas Pratama
Jurnal Mebang: Kajian Budaya Musik dan Pendidikan Musik Vol. 1 No. 2 (2021)
Publisher : Program Studi Etnomusikologi, Fakultas Ilmu Budaya, Universitas Mulawarman

Abstract: Working on or how to work musically in a musical presentation or composition is an essential element. With the process of working on a musical dish, a good and quality dish will be achieved. The working process is essential to achieve the competency standard of a Javanese musical dish. In learning the practice of Javanese Karawitan, the Ethnomusicology Study Program, Faculty of Cultural Sciences, Mulawarman University, encountered problems in the implementation of this working process. It has an impact on the lack of achievement of learning competency standards. The purpose of this paper is to describe the factors that influence the non-achievement of competency standards in learning Javanese musical practice in terms of working on Javanese karawitan. The method used is descriptive analysis. The data collection technique was done by interview, literature study, and qualitative analysis of the work. The results showed that there were internal and external factors. Internal factors include (1) differences in the cultural background of each student, (2) students have not been able to determine the direction of working on karawitan, and (3) students have not been able to determine the considerations for working on karawitan. The external factor is the learning media used, namely the incomplete Javanese gamelan instrument. It is hoped that the results of this study can be used as material for evaluating learning in Javanese Karawitan practice courses. Abstrak: Garap atau cara kerja musikal dalam sajian gending atau komposisi karawitan merupakan unsur penting. Dengan adanya proses garap pada sebuah sajian gending karawitan, akan tercapai sebuah sajian yang baik dan berkualitas. Proses garap menjadi hal yang penting untuk mencapai standar kompetensi dari sebuah sajian karawitan Jawa. Pada pembelajaran praktik Karawitan Jawa Program studi Etnomusikologi, Fakultas Ilmu Budaya, Universitas Mulawarman mengalami kendala dalam pelaksanaan proses garap ini. Hal ini berdampak pada belum tercapainya standar kompetensi pembelajarannya. Tujuan penulisan ini adalah untuk mendeskripsikan faktor-faktor yang mempengaruhi tidak tercapainya standar kompetensi dalam pembelajaran praktik karawitan Jawa dalam hal garap pada karawitan Jawa. Metode yang digunakan adalah deskriptif analisis. Teknik pengambilan data dilakukan dengan wawancara, studi pustaka, dan analisis garap karya secara kualitatif. Hasil penelitian menunjukkan terdapat faktor internal dan eksternal. Faktor internal meliputi (1) perbedaan latar belakang budaya setiap mahasiwa, (2) mahasiswa belum bisa dalam menentukan arah garap karawitan, dan (3) mahasiswa belum bisa menentukan pertimbangan garap karawitan. Faktor eksternalnya adalah media pembelajaran yang digunakan, yaitu instrumen gamelan Jawa belum lengkap. Diharapkan dari hasil penelitian ini dapat menjadi bahan evaluasi pembelajaran pada mata kuliah Praktik Karawitan Jawa.

Musik Iringan Hudoq Kita’ sebagai Seni Pertunjukan Wisata di Desa Pampang Kota Samarinda Meldi Didiawan Noor Tobing; Asril Gunawan; Aris Setyoko
Jurnal Mebang: Kajian Budaya Musik dan Pendidikan Musik Vol. 1 No. 2 (2021)
Publisher : Program Studi Etnomusikologi, Fakultas Ilmu Budaya, Universitas Mulawarman

Abstract: Hudoq Kita' can be presented in two different forms of presentation. In addition to ritual music, the art form is also presented in the form of musical entertainment art of tourism. Hudoq Kita’ entertainment music is generally displayed on every Sunday in Lamin Pemung Tawai Pampang village. This research uses qualitative methods, including observation, data collection, and data analysis. The technique in question is the observation of the research objects and the determination of informants. The data collection techniques include literature studies, interviews, and documentation. The last is the technique of data analysis by utilizing data that has been found in the field. The research results will explain with the facts of the finding in the field by the author. By the thesis title above, this research will describe the traditional Pelas Tahun, Hudoq Kita' and its accompaniment music with ritual context. The author will explain how Hudoq Kita' accompaniment music is turning into the entertainment of tourist art contextually and textually. Abstrak: Hudoq Kita’ dapat disajikan dalam dua bentuk penyajian yang berbeda. Adapun bentuk kesenian tersebut selain sebagai musik ritual juga disajikan dalam bentuk musik hiburan seni wisata. Musik hiburan Hudoq Kita’ umumnya ditampilkan pada setiap hari minggu di lamin Pemung Tawai Desa Pampang. Penelitian ini menggunakan metode kualitatif meliputi observasi, pengumpulan data dan analisis data. Adapun Teknik yang dimaksud adalah observasi meliputi objek penelitian dan penentuan informan. Teknik pengumpulan data meliputi studi pustaka, wawancara, dan dokumentasi. Terakhir yakni teknik analisis data dengan memanfaatkan data-data yang telah ditemukan lapangan. Hasil penelitian akan menjelaskan dengan fakta temuan di lapangan oleh penulis. Sesuai dengan judul skripsi yang diatas, pada tulisan ini akan memaparkan tentang upacara adat Pelas tahun, Hudoq Kita’ dan musik iringan Hudoq Kita’ dengan konteks ritual. Adapun penulis akan menjelaskan bagaimana musik iringan Hudoq Kita’ yang beralih ke sajian hiburan seni wisata secara kontekstual dan tekstual.

Komodifikasi Budaya Musik Sampeq Kenyah Bayu Arsiadhi Putra; Aris Setyoko
Jurnal Mebang: Kajian Budaya Musik dan Pendidikan Musik Vol. 2 No. 1 (2022)
Publisher : Program Studi Etnomusikologi, Fakultas Ilmu Budaya, Universitas Mulawarman

Abstract: The Dayak people of East Kalimantan have long been involved in the world of tourism. There is a cultural village in Samarinda called Pampang, mostly inhabited by the Dayak Kenyah community. In many ways, the government 'takes care of' the development of the Kenyah Pampang community, including its culture and music. It can indicate the government's concern for marginalized groups. However, at the same time, images of 'original', 'exotic' and 'primitive' cultures are being constructed to fit into commodified 'goods'. This view does affect not only the Dayaks themselves but also the government, tourists and private institutions involved in it. This paper aims to discuss how the history of the commodification of Kenyah's musical culture. The research method used is descriptive qualitative with a historical approach. The study results show that the development of the Kenyah Pampang community's musical culture cannot be separated from the commodification brought in by the tourism body. The commodification of Dayak Kenyah's music culture has changed relations among the people, increasing competition and suspicion, both intra and between ethnic groups. Often commodification is carried out with ideology, as in an effort to 'purify tradition'. Abstrak: Masyarakat Dayak di Kalimantan Timur telah lama mengambil bagian dalam dunia pariwisata. Terdapat sebuah desa budaya di Samarinda bernama Pampang, yang sebagian besar dihuni oleh masyarakat Dayak Kenyah. Dalam banyak hal pemerintah ‘mengurus’ pembangunan masyarakat Kenyah Pampang, termasuk budaya dan musiknya. Hal ini dapat menandakan kepedulian pemerintah terhadap kelompok marjinal. Namun saat bersamaan, imaji-imaji tentang kebudayaan ‘asli’, ‘eksotis’ dan ‘primitif’ sedang didikonstruksi agar layak menjadi ‘barang’ komodifikasi. Pandangan ini tidak hanya mempengaruhi Orang Dayak Sendiri tetapi juga pemerintah, wisatawan dan lembaga swasta yang terlibat di dalamnya. Tujuan penulisan ini adalah untuk membahas bagaimana sejarah komodifikasi budaya musik sampeq Kenyah. Metode penelitian yang digunakan adalah deskriptif kualitatif dengan pendekatan sejarah. Hasil penelitian menunjukkan perkembangan budaya musik masyarakat Kenyah Pampang tidak lepas dari komodifikasi yang dibawa dalam tubuh Pariwisata. Komodifikasi budaya musik Dayak Kenyah telah mengubah relasi di antara masyarakat, meningkatkan persaingan dan kecurigaan, baik intra maupun antar etnis. Seringkali komodifikasi dijalankan dengan ideologi, seperti dalam upaya ‘memurnikan tradisi’.

PERSPEKTIF ETNOMUSIKOLOGI DAN MUSIKOLOGI KOMPARATIF TERHADAP MUSIK SEBAGAI ”BAHASA UNIVERSAL” Aris Setyoko; Bayu Arsiadhi Putra; Kresna Syuhada Rawanggalih
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol 14, No 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v14i1.3594

Penyelidikan tentang musik dan kemampuan musik untuk menggerakkan kita telah menarik para pemikir selama ribuan tahun. Para sarjana modern di bidang etnomusikologi dan musikologi evolusi, masing-masing mewakili upaya berbeda untuk mengungkap misteri tersebut. Asumsi dan metode yang melandasi penyelidikan saling bertentangan seputar gagasan musik universal. Dalam artikel ini kami menyelidiki akar sejarah setiap disiplin dan menjelaskan contoh penelitian untuk meningkatkan pemahaman.

Organologi dan Bunyi Kendang Jawa Sigit Setiawan; Aris Setyoko
Jurnal Mebang: Kajian Budaya Musik dan Pendidikan Musik Vol. 2 No. 2 (2022)
Publisher : Program Studi Etnomusikologi, Fakultas Ilmu Budaya, Universitas Mulawarman

This research is research on organology and an effort to explain the drum/kendang instrument from the point of view of how to sound the Javanese Karawitan. The approach used in this research is descriptive and qualitative oriented to the data in the field. The theory used is Hood's organology, which explains that the work of organology is not only limited to the history and description of music but also includes several aspects, including playing techniques of the instrument. The results of this study are mapping and explanation of the technique of sounding Javanese drums-kendang, which results can be used as a reference in the learning process of Javanese drums-kendang and, in general, learning Javanese gamelan/karawitan. Penelitian ini merupakan penelitian tentang organologi dan upaya eksplanasi instrumen kendang dari sudut pandang cara membunyikan pada permainan Karawitan Jawa. Pendekatan yang digunakan dalam penelitian ini adalah deskriptif kualitatif yang berorientasi pada data-data di lapangan. Teori yang digunakan adalah teori tentang organologi Hood yang menjelaskan bahwa kerja organologi adalah tidak hanya sebatas sejarah dan deskripsi musik tetapi juga mencakup beberapa aspek yang meliputi: teknik permainan dari instrumen. Hasil yang dari penelitian ini adalah pemetaan dan eksplanasi teknik membunyikan kendang Jawa yang mana hasil tersebut dapat digunakan sebagai referensi dalam proses pembelajaran kendang Jawa dan secara umum belajar gamelan/karawitan Jawa.

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