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All Journal Gorga : Jurnal Seni Rupa Batoboh : Jurnal Pengabdian Pada Masyarakat Pantun: Jurnal Ilmiah Seni Budaya Besaung : Jurnal Seni Desain dan Budaya PROSIDING: SENI, TEKNOLOGI, DAN MASYARAKAT Melayu Arts and Performance Journal Musica: Journal of Music Jurnal Kajian Seni Bercadik: Jurnal Pengkajian dan Penciptaan Seni JSRET
Wilma Sriwulan
Institut Seni Indonesia Padangpanjang
Arts Humanities Computer Science & IT Economics, Econometrics & Finance Education Engineering Languange, Linguistic, Communication & Media Social Sciences Other

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Reinterpretasi : Motif Pucuak Rabuang pada Media Teko Heru Ningrum; Dharsono Dharsono; Wilma Sriwulan
Besaung : Jurnal Seni Desain dan Budaya Vol 3, No 2
Publisher : UNIVERSITAS INDO GLOBAL MANDIRI

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (315.413 KB) | DOI: 10.36982/jsdb.v3i2.490

Abstract

AbstractThe creation of ceramic craft motifs of pucuak rabuang motif is a reinterpretation of the philosophy of the Minangkabau tradition "nan bak pucuak rabuang, ketek baguno gadang tapakai” (like a small, useful little bamboo shoot). Through this tradition, it became a source of inspiration for the creators in the creation of ceramic craft art. The motive of pucuak rabuang is a motive with aesthetic and philosophical values, so it needs to be presented again in the art of ceramic craft. The author revealed the philosophical form and meaning of the pucuak rabuang motive through teapot media. The motif of pucuak rabuang is also found in the gadang house and the sarong head, the bottom of the sarong at the end of the scarf or clothing. The motif of pucuak rabuang is useful for the lives of Minangkabau people. With the motive of pucuak rabuang through sociological analysis and an aesthetic approach, it can be said that the presence of the Minangkabau motif of pucuak rabuang has aesthetic value and also expresses various meanings and customs functions as one of the identities of the Minangkabau people.Keyword : Reinterpretation, Motive Pucuak Rabuang,Teapot Abstrak Penciptaan seni kriya keramik motif pucuakrabuang ialah reinterpretasi kembali filosofi adat istiadat Minangkabau “nanbak pucuak rabuang, ketek baguno gadang tapakai (bagaikan pucuk rebung, kecil berguna besar terpakai). Melalui adat istiadat ini menjadi sumber inspirasi pengkarya dalam penciptaan seni kriya keramik.Motif pucuak rabuang merupakan motif dengan nilai estetis dan filosofis, sehingga perlu dihadirkan kembali dalam karya seni kriya keramik.Pengkarya mengungkap kembali bentuk dan makna filosofi pada motif pucuakrabuangmelalui media teko.Motif pucuak rabuang juga terdapat di rumah gadang dan kepala kain sarung, bagian bawah sarung pada ujung selendang atau sandang.Motif pucuak rabuangberguna bagi kehidupan masyarakat Minangkabau.Dengan adanya motif pucuakrabuangmelalui analisis sosiologis dan pendekatan estestis dapat dikatakan bahwa kehadiran motif pucuak rabuang Minangkabau memiliki nilai estetis juga mengisyarakan berbagai makna dan fungsi-fungsi adat istiadat sebagai salah satu identitas masyarakat Minangkabau.Kata kunci: Reinterpretasi, Motif Pucuak Rabuang, Teko
Perancangan Logo Peternakan Diteg Farm Aditya Hanum Widarsa; Wilma Sriwulan; Syafwandi Syafwandi
Besaung : Jurnal Seni Desain dan Budaya Vol 4, No 2
Publisher : UNIVERSITAS INDO GLOBAL MANDIRI

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (639.23 KB) | DOI: 10.36982/jsdb.v4i4.793

Abstract

ABSTRACTThe number of companies engaged in the field of chicken farming causes intense competition in the egg sales sector. Homogeneous egg products make selection based on low prices a priority for consumers. To attract attention and gain consumer confidence, it needs a branding process in the form of identity design that functions as a differentiator with competitors. In this design the data analysis method used is SWOT. According to Kotler & Armstrong (2008: 64), SWOT is divided into 4 namely: S (Strengths), W (Weakness), O (Opportunities), and T (Threats). The concept that will be applied to the design of this logo is taken from the awakening of the meaning of the vision and mission of Diteg Farm itself, which is developing business towards a better direction. The modern concept accompanied by the desire to expand the market is the top priority of the Diteg Farm farm. Not only that, eggs from the Diteg Farm farm are quality and hygienic egg choices. This design aims to determine whether the process of designing corporate identity with a modern impression can attract the attention of consumers. With the hope that an impression of a good brand image can attract the attention of consumers to make a purchase. Thus, consumers can feel the satisfaction of the products produced by Diteg Farm farms which will ultimately form consumer confidence that eggs from Diteg Farm farms are quality and hygienic eggs.Keyword : Diteg Farm Poultry, branding, visual identity, promotion mediaABSTRAKBanyaknya perusahaan yang bergerak di bidang peternakan ayam menyebabkan persaingan yang ketat pada sektor penjualan telur. Produk telur yang homogen menyebabkan pemilihan berdasarkan harga murah menjadi prioritas para konsumen. Untuk menarik perhatian dan mendapatkan kepercayaan konsumen dibutuhkan sebuah proses branding berupa perancangan identitas yang berfungsi sebagai pembeda dengan kompetitor. Dalam perancangan ini metode analisa data yang digunakan adalah SWOT. Menurut Kotler & Armstrong (2008:64), SWOT dibagi menjadi 4 yaitu: S (Strengths), W (Weakness), O (Opportunities), dan T (Threats). Konsep yang akan diaplikasikan terhadap perancangan logo ini diambil dari pembangkitan makna visi dan misi Diteg Farm sendiri, yaitu mengembangkan usaha menuju ke arah yang lebih baik. Konsep moderen yang didampingi oleh keinginan untuk memperluas pasar menjadi prioritas utama dari peternakan Diteg Farm. Tidak hanya itu, telur dari peternakan Diteg Farm ini merupakan telur pilihan yang berkualitas dan higienis. Perancangan ini bertujuan untuk mengetahui apakah proses perancangan identitas perusahaan dengan kesan moderen dapat menarik perhatian dari konsumen. Dengan harapan adanya kesan dari citra merek yang baik dapat menarik perhatian konsumen untuk melakukan pembelian. Sehingga, para konsumen dapat merasakan kepuasan dari produk yang dihasilkan oleh peternakan Diteg Farm yang pada akhirnya akan membentuk kepercayaan konsumen bahwa telur dari peternakan Diteg Farm adalah telur yang berkualitas dan higienis.Kata kunci : Peternakan Diteg Farm, branding, identitas visual, media promosi
APROPRIASI GITAR DALAM KESENIAN REJUNG PADA MASYARAKAT SUKU BASHEMAH KABUPATEN KAUR PROVINSI BENGKULU Budrianto Budrianto Budrianto; Wilma Sriwulan; Marta Rosa
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.v7i2.10915

Abstract

AbstrakPenelitian bertujuan untuk membahas peran gitar sebagai bentuk apropriasi dalam kesenian rejung pada masyarakat suku bashemah ,sekaligus bertujuan untuk menambah wawasan,mendeskripsikan dan mencari kebenaran tentang kesenian tersebut mengapa kesenian ini memakai iringan permainan gitar konvensional barat. Rejung adalah perpaduan antara sastralisan beserta iringan musik menggunakan petikan gitar. Irama-irama rejung sangatlah beragam dan khas.Sastralisan yangterkandung dalam rejung terletak pada tembang-tembangnya, berupa pantun nasehat, pesanmoral, sindiran, kisah seseorang, sebuah ungkapan perasaan antara muda-mudi dan ucapan-ucapan yang dirasakan dalam hati seperti merintih,meratapi nasib,dan menyesali hidup dengan menggunakan bahasa daerah. Gitar dalam kesenian rejung berfungsi sebagai melodi pokok sekaligus pengatur tempo. Dalam musik konvensional gitar difungsikan sebagai iringan musik modern atau musik barat. sementara berbeda halnya dengan kesenian rejung,secara musikal gitar tunduk  sebagai alat musik tradisi di dalam kesenian rejung. Metodologi yang digunakan ialah metodologikualitatif dalam lingkup musik. Dengan adanya  penelitian ini untuk menambah nilai historis sebuah kesenian daerah itu sendiri dan berharap menjadi suatu referensi literasi pengetahuan bagimasyarakat kabupaten kaurdan masyarakat umum. Dalam karya tulis ini disimpulkan bahwa musik rejung memiliki gaya khas musik timur dengan memakai instrumen musik barat dan memiliki ciri khas musik tradisional Indonesia.           Kata Kunci : Rejung, Gitar Konvensional, Apropriasi.  AbstractThe study aims to discuss the role of the guitar as a form of appropriation in the art of rejung to bashemah tribal people, as well as aiming to broaden insight, describe and seek truth about the art, why is this art using conventional Western guitar playing. Rejung is a combination of oral literature and musical accompaniment using guitar passages. The rhythm of the rejung is very diverse and distinctive. Oral literature contained in the rejung lies in the songs, in the form of rhymes of advice, moral messages, satire, the story of a person, an expression of feelings between young people and words that are felt in the heart such as moaning, lamenting fate, and regretting life by using local language. The guitar in the rejung art serves as the main melody as well as the tempo regulator. In conventional music the guitar is functioned as an accompaniment of modern music or western music. while in contrast to the rejung art, musical guitars are subject to traditional musical instruments in the art of rejung. The methodology used is a qualitative methodology in the scope of music. With the existence of this research to add the historical value of the regional art itself and hope to become a reference of knowledge literacy for the people of the district of Kaur and the general public. In this paper it was concluded that rejung music has a distinctive style of eastern music by using western music instruments and has the characteristics of traditional Indonesia music. Keywords: Rejung, conventional guitar, appropriation. 
KARAKTERISTIK DAN EKSPRESI DENDANG MUARO PETI DARI BERBAGAI INTERPRETASI PENDENDANG Melisa Fitri Rahmadinata; Mahdi Bahar; Wilma Sriwulan
Bercadik: Jurnal Pengkajian dan Penciptaan Seni Vol 3, No 1 (2016): Bercadik: Jurnal Pengkajian dan Penciptaan Seni
Publisher : Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (269.462 KB) | DOI: 10.26887/bcdk.v3i1.531

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ABSTRACT Muaro Peti is one of Minangkabau repertoire songs originally from Muaro Peti Village, Kapur IX Sub-district, Limapuluh Kota District, West Sumatera. Cultural geographically, this village is the part of darek area located in indigenous territorial of Luhak Nan Tigo, Minangkabau.This song expresses particular characteristics of melody which differs from general darek songs, especially the movement of melodic lines which tends to decrease; while dominantly, the other darek songs tend to have ascending melodic lines. If it’s viewed textually melodic, the uniqueness of this song is also visible from its garinyiak (thriller), layuak (glissando), and non-chordal tone (appoggiatura) which appears as variation in song’s melody. In western music, the concept of ornamental tone or melody variation is the part of ornamentation. Furthermore, in term of interval, Muaro Peti song has genuine pentatonic scale, while the other darek songs generally have pentatonic scale which is close to diatonic scale. The differences in melody and interval eventually result on every singer’s particular singing style or music expression in singing Muaro Peti.The major approach in this research entitled “Characteristics and Expressions of Muaro Peti Song from Various Interpretations of the Singers” was done by using the analysis of laboratory work through various audio recordings of Muaro Peti song as the primary data. In this research, the qualitative field research was used as secondary data because this research did not investigate performance expression, but it’s more focused on music expression interpreted by the singers in singing Muaro Peti song
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

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (204.119 KB) | DOI: 10.26887/bcdk.v4i1.561

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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. 
BULEAN: KOMPOSISI MUSIK ORKESTRA Weldi Syaputra; Wilma Sriwulan; IGN Wiryawan Budhiana
Bercadik: Jurnal Pengkajian dan Penciptaan Seni Vol 3, No 2 (2016): Bercadik: Jurnal Pengkajian dan Penciptaan Seni
Publisher : Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (136.355 KB) | DOI: 10.26887/bcdk.v3i2.552

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ABSTRACT Musical work called Bulean, an Orchestra Music Composition, is a descriptive programa music. It is inspired by phenomenon occurred on healing ceremony of Talang Mamak tribe in Indragiri Hulu District, Riau. This creation aims at making a programa music that’s able to express phenomenon occurred on Bulean ceremony by using the approach of Western music convention in Orchestra format. This work divided into three parts namely menginang in part I, berentak in part II, and maranung in part III. Keywords: Bulean, menginang, berentak, maranung
ULU AMBEK: SEBUAH PERTARUHAN NILAI Dilmai Putra; Koes Yuliadi; Wilma Sriwulan
Bercadik: Jurnal Pengkajian dan Penciptaan Seni Vol 3, No 2 (2016): Bercadik: Jurnal Pengkajian dan Penciptaan Seni
Publisher : Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (132.932 KB) | DOI: 10.26887/bcdk.v3i2.545

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ABSTRACT Ulu ambek is the battle among nagari (=villages) and among their customary leaders through their fighters namely pandeka ulu ambek. The battle is the fight of values which stakes the greatness, honor, and prestige of a nagari and all of its equipments. The battle is done in order to gain recognition and existence from other nagari. Ulu ambek is conceptualized and created as a battle which honors sportsmanship, ethics, and aesthetics. Sportsmanship can be seen from its rules and the rule keepers; ethics can be seen from the way to do it; and aesthetics can be seen from the movement. In Minangkabau society, the terms balahie babatin means that there are things that can be seen physically and the others that can only be felt mentally. In physical appearance, ulu ambek is seen as an attractive movement that’s equal to suntiang, a traditional head ornament of Minangkabaunese’s bride. In spiritual way, ulu ambek is a battle using spiritual and supernatural power. Through the spiritual and supernatural power, ulu ambek is presented in the movements of attacking and repelling opponent’s strike without any physical contact.                                                                                                                      Keywords: Ulu ambek, battle, value, ethics, sportsmanship, nagari
PEMBELAJARAN LAGU ADA ANAK BERTANYA PADA BAPAKNYA DENGAN FORMASI DRUMBAND DI SMP N 5 PADANGPANJANG HARRY SURYADI; ROSMEGAWATY TINDAON; WILMA SRIWULAN
Batoboh: Jurnal Pengabdian Pada Masyarakat Vol 5, No 1 (2020): BATOBOH : JURNAL PENGABDIAN PADA MASYARAKAT
Publisher : Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/bt.v5i1.1067

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Dengan adanya pembelajaran lagu Ada Anak Bertanya Pada Bapaknya dengan formasi drumband ini akan dapat meningkatkan kreatifitasnya dalam bermusik.               Pembelajaran ini menggunakan metode penelitian tindakan Action Reasearch yang juga didukung oleh metode penerapan lainnya yaitu metode ceramah, metode demonstrasi, dan metode eksperimen. Hasil yang diperoleh dari pembelajaran lagu Ada Anak Bertanya Pada Bapaknya dengan formasi drumband kepada peserta didik adalah peserta didik mampu untuk mempertunjukkan hasil dari pembelajaran lagu Ada Anak Bertanya Pada Bapaknya dengan formasi drumband. Mereka mendapatkan pengetahuan musik khususnya dalam bidang drumband, dan lebih bisa berkreativitas dengan instrumen drumband yang ada di ruang instrumen SMP N 5 Padangpanjang
STUDI ANALISIS: KONSEP MUSIKAL RANDAI KUANTAN DI TELUK KUANTAN-RIAU MELALUI TEORI SEMIOLOGI MUSIK Ari Puswanto; Wilma Sriwulan; Martarosa Martarosa
Melayu Arts and Performance Journal Vol 2, No 2 (2019): Melayu Art and Performance Journal
Publisher : Pascasarjana Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/mapj.v2i2.695

Abstract

ABSTRAKRandai Kuantan adalah kesenian tradisional masyarakat Kuantan yang komunikatif, lahir dan berkembang di tengah-tengah masyarakat Kuantan. Randai Kuantan membawakan suatu cerita yang sudah disusun sedemikian rupa dengan dialog dan pantun logat Melayu Kuantan, disertai lagu-lagu Melayu Kuantan sebagai peningkah babak-babak cerita. Pertunjukan kesenian Randai kuantan tidak bisa lepas dari iringan musik yang dibawakan dalam suatu pertunjukan randai, karena musik sangat berperan penting dalam peningkah babak cerita. Gesekan Piul-Biola, hentakan pukulan gendang dan tiupan lapri (serunai), diiringi langkah tari merupakan siri khas tersendiri dari Randai Kuantan. Biola gaya Melayu Riau (Kuantan Singingi), merupakan instrumen yang sangat dominan dimainkan dalam Musik Randai Kuantan. Tujuan penelitian ini adalah mengungkap konsep musikal musik Randai Teluk Kuantan. Metode yang digunakan adalah metode kualitatif, pengumpulan data dilakukan melalui observasi dan mengamati tradisi Randai Kuantan, khususnya musik randai, dokumentasi audio dan visual serta wawancara dengan sejumlah tokoh adat dan masyarakat. Penelitian ini dianalisis dengan teori semiologi musik.
GEMA DI WAKTU SUBUH Yogi Elga Rianggi; Rafiloza Rafiloza; Wilma Sriwulan
Melayu Arts and Performance Journal Vol 2, No 2 (2019): Melayu Art and Performance Journal
Publisher : Pascasarjana Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/mapj.v2i2.977

Abstract

ABSTRACTGema di Waktu Subuh (in English, it’s translated into Echo at the Dawn Time) is the work of multimedia music with the method of sound exploration in the form of sound-design composition. This composition consists of manipulative sounds that describe the atmosphere occurring at the time of Subuh prayer in Salayo Tanang Bukit Sileh, Lembang Jaya sub-district, Solok district. This composition includes in illustration music that explores the sounds of nature at dawn such as river sound, cicada’s sound, rooster’s sound, vehicle sound, the sound of people’s reciting verses in Quran, and Shalawat Tahrim as the sign of the entrance of Subuh prayer time. Gema di Waktu Subuh was processed through the application of Digital Audio Workstation (DAW) cubase5 with the assistance of Virtual Sound Technology (VST) namely Waves 9, processed with producing 3d sound. Keywords: Multimedia Music, Manipulation, Exploration, Breaking Dawn Echo.  ABSTRAKGema di Waktu Subuh merupakan karya musik multimedia dengan metode eksplorasi bunyi dalam bentuk penggarapan Sound Design. Karya ini merupakan suara-suara manipulasi yang menggambarkan suasana yang terjadi ketika akan masuknya waktu sholat subuh di daerah Salayo Tanang Bukit Sileh Kecamatan Lembang Jaya Kabupaten Solok .Karya ini termasuk musik ilustrasi mengeksplorasi suara-suara Alam diwaktu  subuh, seperti: bunyi sungai, bunyi jangkrik, bunyi ayam berkokok, bunyi kendaraan, bunyi orang yang membacakan Tilawah ayat suci Al-Qur’an, dan Shalawat Tahrim sebagai penanda masuknya waktu sholat Subuh.Gema di Waktu Subuh diolah melalui sarana pengaplikasian Digital Audio Workstation (DAW) cubase5 dengan bantuan Virtual Sound Technology (VST) yaitu Waves 9, diolah dengan menghasilkansuara 3d sound. Kata kunci: Musik-Multimedia, Manipulasi, Eksplorasi, Gema-Shubuh. 
Co-Authors Aditya Hanum Widarsa Andar Indra Sastra Ari Puswanto Asril Asril Awerman Awerman Ayu Rizal Budrianto Budrianto Budrianto Dharsono Dharsono Dilmai Putra Emridawati Emridawati HARRY SURYADI Heru Ningrum IGN Wiryawan Budhiana Irwan Irwan Koes Yuliadi Mahdi Bahar Marta Rosa Martarosa Martarosa Melisa Fitri Rahmadinata Rafiloza Rafiloza Rima Wanti Sabilah HRP Rosmegawaty Tindaon Rudi Eka Putra Syafwandi Syafwandi Vujji El Ikhsan Weldi Syaputra Yogi Elga Rianggi Yon Hendri Yon Hendri Yurisman