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All Journal Jurnal Sendratasik Journal of Education, Humaniora and Social Sciences (JEHSS) Jurnal Pendidikan dan Konseling Besaung : Jurnal Seni Desain dan Budaya Musica: Journal of Music ANTHOR: Education and Learning Journal Indonesian Research Journal on Education Innovative: Journal Of Social Science Research Pensi: Jurnal Ilmiah Pendidikan Seni
Silo Siswanto
Universitas PGRI Palembang
Religion Arts Humanities Astronomy Biochemistry, Genetics & Molecular Biology Chemistry Computer Science & IT Decision Sciences, Operations Research & Management Economics, Econometrics & Finance Education Energy Environmental Science Health Professions Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Library & Information Science Materials Science & Nanotechnology Mathematics Physics Public Health Social Sciences Other

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Analisis Musikologis Struktur Lagu Gerobak Buruk Sapi Gile Kesenian Gitar Tunggal Sungai Pinang Kabupaten Ogan Ilir Silo Siswanto; Irfan Kurniawan
SENDRATASIK UNP Vol 10, No 4 (2021)
Publisher : FBS Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1558.219 KB) | DOI: 10.24036/js.v10i4.115534

Abstract

This study discusses the musical phenomenon of the reportoar song Gerobak Buruk Sapi Gile which is a characteristic of guitar tunggal art musicals in Sungai Pinang sub-district, Ogan Ilir district. The purpose of this research is to find out and understand more deeply the concepts of the single guitar musical culture. The approaches taken are; musicological analysis. This study uses qualitative methods with data collection techniques through observation, interviews and documentation. The results of interviews and documentation of guitar tunggal music were analyzed through laboratory work using the analytical transcription method. The results of this study describe the form and structure of the song of the bad cow gile cart which consists of; scale system analysis, cadence melody analysis, antisedent and consequent phrase analysis, song period analysis, and bar analysis.
BENTUK LAGU MARS FKIP UNIVERSITAS PGRI PALEMBANG IRINGAN MUSIK FORMAT ORKESTRA Silo Siswanto
Besaung : Jurnal Seni Desain dan Budaya Vol 5, No 2
Publisher : UNIVERSITAS INDO GLOBAL MANDIRI

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36982/jsdb.v5i2.1858

Abstract

The motto of PGRI Palembang University is that the campus advances with quality. Then a need for faculties to make a stragi in providing encouragement and motivation to the academic community to carry out the tri dharma of higher education. (FKIP) Palembang PGRI University through its highest leadership in the faculty gave a letter of assignment to work on the Mars song FKIP PGRI Palembang University to one of the music art lecturers in the performing arts education study program named Silo Siswanto, M.Sn. Then the Mars song was finished on July 23, 2018 and was launched on July 31, 2018 in the FKIP University of Palembang PGIP judicial event held at the Science Center building at the PGRI University in Palembang. Regarding the form in the Mars song, of course, this song has pieces of melody that are often known by the term phrases or musical sentences that make up the song. while the accompaniment music is arranged in an orchestra format. The formulation of the problem. (1) What is the form of Mars FKIP University PGRI Palembang song. (2) How is the accompaniment of Mars FKIP Palembang PGRI University music with orchestra format. The results of the discussion FKIP march song has a poly metric musical form where the antecedent phrase and consequent phrase do not have the same number of bars for example period C has 9 bars consisting of the phrase d 4 bars and the phrase e 5 bars.Keywords: Song Form, Mars Song, Orchestra
Pemahaman Metrik dalam Membaca Notasi Balok Silo Siswanto; Feri Firmansyah
Besaung : Jurnal Seni Desain dan Budaya Vol 3, No 3
Publisher : UNIVERSITAS INDO GLOBAL MANDIRI

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (941.758 KB) | DOI: 10.36982/jsdb.v3i3.495

Abstract

Abstract The ability to read beam notation at every level of education experiences constraints in terms of the accuracy measure of reading notation values, although in the subject matter the rhythm has been explained regarding the shape and value of notation. Therefore this study will provide metric formulations in the form of reading-symbols in measuring the short length value of sound in music notation, where the symbol is a solution in solving the intended problem. The formulation of this research problem, 1) How is the understanding of metrics which include rhythm, knock, and tempo in reading beam notation, 2) Why is the understanding of metrics important in reading beam notation, and 3) how is the formulation of metric formulas in the form of symbols in reading beam notation. While the specific objectives of this research are 1) Creating a formula about understanding metrics in reading beam notation. 2) Explain the importance of understanding metrics in reading beam notation. 3) Making symbols in reading beam notation. The method used in this study includes literature research and data collection is done through literature study and documentation related to western music theory. Furthermore, the analysis of data relating to western music theory is processed and formulated through musicology.Keywords: Matrix, Symbol How to Read, Beam Notation AbstrakKemampuan membaca notasi balok pada setiap tingkat pendidikan mengalami kendala dalam hal ukuran akurasi nilai notasi pembacaan, meskipun dalam materi pelajaran irama telah dijelaskan mengenai bentuk dan nilai notasi. Oleh karena itu penelitian ini akan memberikan formulasi metrik dalam bentuk membaca-simbol dalam mengukur nilai panjang pendek suara dalam notasi musik, dimana simbol merupakan solusi dalam menyelesaikan masalah yang dituju. Rumusan masalah penelitian ini, 1) Bagaimana pemahaman metrik yang meliputi ritme, ketukan, dan tempo dalam membaca notasi balok, 2) Mengapa pemahaman metrik penting dalam membaca notasi balok, dan 3) bagaimana formulasi rumus metrik dalam bentuk simbol dalam membaca notasi balok. Sedangkan tujuan khusus dari penelitian ini adalah 1) Membuat rumusan tentang memahami metrik dalam membaca notasi balok. 2) Jelaskan pentingnya memahami metrik dalam membaca notasi balok. 3) Membuat simbol dalam membaca notasi balok. Metode yang digunakan dalam penelitian ini termasuk penelitian kepustakaan dan pengumpulan data dilakukan melalui studi kepustakaan dan dokumentasi yang berkaitan dengan teori musik barat. Selanjutnya, analisis data yang berkaitan dengan teori musik barat diproses dan dirumuskan melalui musikologi.Kata kunci: Matriks, Simbol Cara Membaca, Notasi Balok
MAKNA AYUNAN REJUNG PADA MASYARAKAT PULAU BERINGIN Silo Siswanto
Besaung : Jurnal Seni Desain dan Budaya Vol 2, No 2
Publisher : UNIVERSITAS INDO GLOBAL MANDIRI

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (705.024 KB) | DOI: 10.36982/jsdb.v2i1.278

Abstract

Rejungan is the another name of batanghari sembilan based on the writing of firmansyah the name of batang harii sembilan music as a new thing for listener and actor the society pagaralam and semende its not only as same as melody but it has philosophy is in the music . it can clarified that rejung is not only a art of music based on art experienced only but rejung as a result of representation or reflection from society habitual in semende ethnic.Ayunan umak and ayunan anak in the music rejung became a media of communication for society of semende ethnic either as a medium of entertainment or as a medium of learning to aquentance value of religion whereas the value of customs for childern and society semende ethnic with the religious leaders although the customary leaders because of ayunan became important thing to rejung it means the word ayunan has own meaning for society semende ethnic. The result of research that got comprehesion to philosophy ayunan rejung it has the value of localwisdomKeywords : Rejung – ayunan – meaning – society of pulau beringin
Pembelajaran Musik Rejung Menggunakan Media Audio Visual (Video Tutorial) Silo Siswanto; Zelly Marissa Haque
Besaung : Jurnal Seni Desain dan Budaya Vol 4, No 1
Publisher : UNIVERSITAS INDO GLOBAL MANDIRI

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36982/jsdb.v4i1.1752

Abstract

Pembelajan musik daerah setempat di sekolah maupun perguruan tinggi menjadi materi unggulan sebagai muatan lokal disetiap tempat di Indonesia, dalam hal ini, yang menjadi fokus pembahasan tulisan ini adalah musik rejung atau sering disebut dengan Batang Hari Sembilan, identifikasi masalah dalam penelitian ini yakni proses pembelajaran musik rejung, kesulitan bagi pendidik musik dalam mengajarkannya yakni, belum tersusunnya langkah-langkah materi pembelajaran musik  rejung dengan baik. Selain itu, masalah yang dihadapi pendidik dalam pembelajaran musik rejung, tidak termanfaatkan media pembelajaran secara optimal yaitu, media audio visual (video tutorial pembelajaran). Berdasarkan identifikasi masalah tersebut, dapat dirumuskan masalah dalam penelitian ini berupa pertanyaan sebagai berikut, 1) Bagaimana struktur musik rejung. 2) bagaimana cara pembuatan/produksi video tutorial dalam pembelajaran Musik Rejung. 3) Bagaimana belajar musik Rejung melaui Video tutorial. Sedangkan tujuan khusus dari penelitian ini adalah 1) Menjelaskan teknik permianan pada musik Rejung. 2) Menjelaskan produksi video tutorial. 3) Menjelaskan proses pembelajaran musik rejung melalui video tutorial. Metode yang digunakan pada penelitian yakni Penelitian ini membahas hal-hal yang terkait dengan keilmuan musik rejung, dalam pengumpulan datanya dilakukan melalui observasi dan dokumentasi yang terkait dengan proses pembelajaran musik daerah setempat. Selanjutnya analisis data-data yang berhubungan dengan musik rejung tersebut diolah dan dirumuskan melalui musikologi dan multimedia audio visual.
Struktur Musik Hadroh oleh Kelompok Darus Sakinah Kertapati-Palembang (The Structure of Hadroh Music by Darus Sakinah Kertapati Group-Palembang) Riska Sanda; Silo Siswanto
MUSICA : Journal of Music Vol 2, No 1 (2022): MUSICA : JOURNAL OF MUSIC
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/musica.v2i1.2578

Abstract

Artikel ini bertujuan untuk mengungkapkan struktur musik Hadroh oleh Kelompok Darus Sakinah Kertapati-Palembang. Kesenian Hadroh merupakan kesenian yang bernuansa islami yang berasal dari wilayah Timur Tengah, dalam pertunjukannya menggunakan alat musik perkusi sambil melantunkan sholawat kepada Nabi Muhammad SAW. Kesenian Hadroh Darus Sakinah merupakan salah satu kesenian yang berkembang di kecamatan Kertapati, kesenian musik Hadroh ini menggunakan alat musik seperti rebana, darbuka, tamborin, dan kendang bass. Lagu yang dinyanyikan mengandung pujian dan sholawat kepada Nabi Muhammad SAW, menggunakan bahasa Arab dan sesekali menggunakan bahasa Indonesia. Penelitian ini dilakukan dengan menggunakan metode penelitian kualitatif. Hasil penelitian menunjukkan bahwa struktur musik Hadroh kelompok Darus Sakinah merupakan struktur lagu tiga bagian yaitu bagian A, A’, B, dan C. ritme yang terdapat dalam lagu Ya Ahmad Habibi menggunakan tanda birama 4/4, dan  melodi yang digunakan hanya bersumber dari vokal, dalam hal ini berarti tidak ada alat musik melodis yang digunakan kelompok Darus Sakinah.ABSTRACTThis article aims to reveal the musical structure of Hadroh Hadroh by the Darus Sakinah Group. Kertapati-Palembang Hadroh art is an Islamic nuanced art originating from the Middle East region, in its performance using percussion instruments while chanting sholawat to the Prophet Muhammad SAW. Hadroh Darus Sakinah art is one of the arts that developed in Kertapati district, this Hadroh music art uses musical instruments such as tambourines, darbuka, tambourines, and bass drums. The song sung contains praise and sholawat to the Prophet Muhammad SAW, using Arabic and using Indonesian. This research was conducted using qualitative research methods. The results showed that the structure of the Hadroh music of the Darus Sakinah group is a three-part song structure, namely parts A, A', B, and C. The rhythm contained in the song Ya Ahmad Habibi uses 4/4 time signatures, and the melody used only comes from vocals. , in this case it means that there is no melodic musical instrument used by the Darus Sakinah group.
Lagu Budak Lorong dalam Perspektif Analisis Bentuk dan Kreativitas (Song Budak Lorong in the Perspective of Form Analysis and Creativity) Rama Eko Nugroho Santoso; Achmad Wahidi; Silo Siswanto
MUSICA : Journal of Music Vol 2, No 2 (2022): MUSICA : JOURNAL OF MUSIC
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/musica.v2i2.2628

Abstract

Melatar belakangi penelitian ini adalah pada bentuk lagu Budak Lorong, dimana lagu tersebut diminati masyarakat hal ini menunjukkan bahwa lagu tersebut memiliki unsur kreatif dari komposernya yakni Andi Lisso. Maka setelah melihat bentuk dan struktur lagu Budak Lorong mengkaji kreativitas yang termuat di dalam juga menjadi fokus dalam penelitian ini. Masalah dalam penelitian ini adalah bagaimana bentuk Lagu Budak Lorong dalam kreativitas Andi Lisso di kota Palembang dengan melihat kreativitas di dalamnya. Penelitian menggunakan metode penelitian kualitatif yang mana kerangka konseptual menjadi acuan kerja dengan berbagai pendekatan yang dilakukan untuk mendapatkan hasil analisis yang baik dan mendalam, dengan teknik pengumpulan data penelitian ini observasi, dokumentasi, dan wawancara menjadi strategi dalam pencarian jawaban permasalahan. Dengan teknik analisis data yang digunakan adalah reduksi data, penyajian data yang berbentuk audio kemudian di transkip ke dalam notasi balok. Dimana pada akhir penelitian ini mendapatkan hasil bahwa bentuk lagu Budak Lorong yakni (“(A)”, “(A’)” dan “(B)” dari setiap bagian tersebut memiliki phrase antecedent dan phrase consequent. Berdasarkan struktur tersebut kreativitas lagu Budak Lorong akan jelas terbaca sebagai lagu materi etnik Palembang (Bahasa Palembang) yang dikemas dengan keterkinian.ABSTRACTThe background of this research is the form of the song Budak Lorong, where the song is popular with the public, this shows that the song has a creative element from the composer, namely Andi Lisso. So after looking at the form and structure of the Budak Lorong song, examining the creativity contained within is also the focus of this research. The problem in this study is how the shape of the Lorong Budak Song in Andi Lisso's creativity in Palembang city by looking at the creativity in it. The research used a qualitative research method in which the conceptual framework became a work reference with various approaches taken to obtain good and in-depth analysis results, with this research data collection technique observation, documentation, and interviews became a strategy in finding answers to problems. The data analysis technique used is data reduction, the presentation of data in the form of audio is then transcribed into block notation. Where at the end of this study the results were obtained that the form of the Budak Lorong song namely (“(A)”, “(A')” and “(B)” from each of these parts had an antecedent phrase and a consequent phrase. Based on this structure, the creativity of the Budak Lorong song it will be clearly read as a song of Palembang ethnic material (Palembang language) which is packaged in an up-to-date manner.
Pembelajaran Lagu Ngarak Telok Herujo Oleh Band Eksotika pada Kegiatan Ekstrakurikuler di SMK Negeri 1 Tobali Bambang Aprianto; Irfan Kurniawan; Silo Siswanto
ANTHOR: Education and Learning Journal Vol 1 No 5 (2022): Vol 1 No 5. Page: 240 - 293
Publisher : Fakultas Keguruan dan Ilmu Pendidikan, Universitas Pahlawan Tuanku Tambusai

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (181.73 KB) | DOI: 10.31004/anthor.v1i5.41

Abstract

The purpose of the study was to find out how the learning process again Ngarak Telok Herujo in extracurricular activities at SMK Negeri 1 Toboali. The method used in this research is a qualitative approach. The data collection technique used is triangulation, namely observation, interviews, and documentation. Based on the results of the study, it was found that this learning process occurred in stages consisting of planning, implementation and evaluation. The results of the planning have been described, namely the preparation of schedules, materials, methods and media. The results of the implementation have also been described, namely the application of materials, application of methods. Followed by the overall results, namely evaluation.
Acara Adat Joget Kidah-Kidahan di Desa Sugihan Kabupaten Muara Enim Intan Ria; Nurdin Nurdin; Silo Siswanto
Indonesian Research Journal On Education Vol. 3 No. 1 (2023): Page: 1 - 862
Publisher : Fakultas Ilmu Pendidikan, Universitas Pahlawan Tuanku Tambusai

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (169.053 KB) | DOI: 10.31004/irje.v3i1.121

Abstract

The Kidah-kidah dance traditional event is only carried out when a boy is going to performcircumcision, the Kidah-kidahan dance custom is an event aimed at Thanksgiving for boys who willcarry out the circumcision, this traditional event is also often called the little fiancé. but when smallchildren are called to start dancing, they will be called as Pence Dance, which means in pairs. Theobject of this research is the form of presentation of the traditional dance of kidah-kidahan. Thelocation of this research was carried out in Sugihan Village, Muara Enim Regency. In this study, the formulation of the problem is how the traditional dance of kidah-kidahan in Sugihan village, Muara Enim district, so after knowing the problem formulation in this study, it can be seen that the purpose of the research was to describe the form of presentation of kidah-kidahan dance in Sugihan village. The method used by the researcher is a qualitative descriptive method using Observation, Interview and Documentation Data Collection Techniques. The data analysis technique carried out by the researcher is that the researcher will see and examine the form of presentation of kidah-kidahan dances and the socio-cultural function in the Sugihan village community. In order for this research to be more accurate when it is being read, the researcher goes directly to the field and makes observations on the object being studied by means of interviews. The results of this study are that thekidah-kidahan dance has seven stages of activity and six forms of presentation and there are alsotwo functions, namely social functions and cultural functions.
Eksistensi Kesenian Kuda Lumping Grup Budi Lestari di Kelurahan Talang Betutu Kecamatan Sukarami Kota Palembang Nyayu Sari Aisyah; Irfan Kurniawan; Silo Siswanto
Indonesian Research Journal On Education Vol. 3 No. 1 (2023): Page: 1 - 862
Publisher : Fakultas Ilmu Pendidikan, Universitas Pahlawan Tuanku Tambusai

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (183.524 KB) | DOI: 10.31004/irje.v3i1.133

Abstract

This study aims to determine the existence of the Kuda Lumping Art of the Budi Lestari Group inTalang Betutu Village, Sukarami District, Palembang City. The method used in this research is descriptive qualitative with research objects or informants, namely studio owners, trainers, players and the community. Data collection techniques used in this study include observation,documentation and interviews. The results in this study are focused on the level of the Budi LestariGroup's Kuda Lumping Art among the community, especially the Talang Betutu community. From the results of the study it can be concluded that the Budi Lestari Group's Kuda Lumping is a Kuda Lumping Art Show that has been passed down from generation to generation and can be categorized as The existence of some of the Transmigration communities in Talang Betutu is proven that the Kuda Lumping Budi Lestari Group has been around for a long time, namely in 1977 and some people already know about it.
Co-Authors Achmad Wahidi Bambang Aprianto Defi Tri Wahyuni Efita Elvandari Feri Firmansyah Intan Ria Kurniawan, Irfan Muhammad Alfaruqi muhsin ilhaq Novita Sari Nurdin, Nurdin Nurlaila Tiani Nyayu Salsabil Yumna Nyayu Sari Aisyah Rama Eko Nugroho Santoso Ramanata Disurya Riska Sanda Rochayati, Rully Zelly Marissa Haque