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PERFORMATIVITAS HUDSON PRANANJAYA DALAM PERTUNJUKAN MUSIK Zamrud Whidas Pratama; Yofi Irvan Vivian
CaLLs: Journal of Culture, Arts, Literature, and Linguistics Vol 6, No 2 (2020): CaLLs, Desember 2020
Publisher : Fakultas Ilmu Budaya, Universitas Mulawarman

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30872/calls.v6i2.3312

Hudson Prananjaya is a singer who has a unique performance that is able to sing in the colors of the voice of men and women like a couple who is a duet. One of the songs he once brought back was the Gethuk song. The purpose of this study is to examine how the performance of a Hudson Prananjaya in exploring the gethuk song so that it has the characteristics of other singers. The theory used in this research is the theory of performativity, Habitus. This study aims to describe how Hudson's performativity in gethuk songs. Data collection is done by (1) literature study, (2) observation, (3) interview, (3) documentation. The stages in analyzing data with (1) data reduction, (2) data presentation, and (3) histography writing (4) conclusion. Clarification of the data was again carried out both to the subject of the study and to other informants. Hudson gained cultural insight in singing because he was accustomed to experimenting in singing. One of the songs that was brought back was Gethuk song. The visual aspect is shown by the concept of two face shows nuances of Javanese customs both makeup and clothes. The results of the transcription and analysis of musical aspects in the introduction section are marked with X sung using the basic tone of Fis Major by taking the first verse of the song yen ing tawang ono latitude. The introduction is sung in a free vocal style without a tempo called the recitative vocal style. Modulation to the Bes Major scale occurs when getting to the Gethuk song starts from the song intro until the song is finished. The gethuk song that Hudson reproduces back to part B (b1 '), (b2'). In the repetition section there is a dialogue technique in singing called unpicth vocal technique.

Fungsi Daak Maraa’ dalam Upacara Hudo’ Kawit pada Masyarakat Suku Dayak Bahau di Kota Samarinda Achmad Ali Fajriansyah; Yofi Irvan Vivian; Zamrud Whidas Pratama
Jurnal Mebang: Kajian Budaya Musik dan Pendidikan Musik Vol. 1 No. 1 (2021)
Publisher : Program Studi Etnomusikologi, Fakultas Ilmu Budaya, Universitas Mulawarman

Daak maraa’ was presented in the context of the traditional activities of the Dayak Bahau tribe community that carried the ritual. Problems related to social aspects when daak maraa’ 'is not implemented, so it raises the assumption of how important daak maraa’ is for the Dayak Bahau people. This study aims to: explain the musical structure of the Hudo’ Kawit ceremonies held by the Dayak Bahau people in Samarinda; describe the function of daak maraa’ presented at the Hudo’ Kawit ceremony for the Dayak Bahau community in Samarinda. This research uses a qualitative methodology by applying observation techniques, data collection, and data analysis. Observation techniques include the object of research that is the focus of research. Data collection techniques are based on literature study, informants, interviews, and documentation. Analysis techniques by reducing data and concluding. Research results in accordance with the background of the problem and objectives. The musical structure and function have a connection, that the application of rhythmic sound daak maraa’ is presented as a accompaniment to rituals and prayers. The application of daak maraa’ is actualized with a static rhythm, namely: (a) sukat 4/4; (b) tempo (andantino) 78-83; (c) motive (literal); (d) dynamics (forte); (e) timbre (teng, pliers, tung, and dung). The research findings contain a value that the function of daak maraa’ is present and applied as an anticipation goal on the basis of the potential for bad sound (yog) which can come to disrupt and cancel the traditional ceremonial activities. Yog is believed to exist by the Dayak Bahau tribe based on legend over folk prose stories that are thought to have taken place in the real world and are bad (magi).

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.

Peran Sanggar Seni Apo Lagaan terhadap Kontinuitas Sape’ Karaang Dayak Bahau di Kota Samarinda Kalimantan Timur Fernando Yonathan Tuah; Asril Gunawan; 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: The art studio Apo Lagaan first appeared in Samarinda in 2007 and is still going on today. The Apo Lagaan art studio is an art studio that focuses on the traditional arts of the Bahau Dayak, especially the music of sape' karaang. This study aims to reveal the form of the Apo Lagaan Art Studio's role, the form of presentation of sape' karaang, and the meaning contained in the game. This study uses a qualitative method. The observation technique used includes the object of research and the determination of informants. The data collection techniques of this research include literature study, interviews, and documentation. The research data analysis technique is carried out by utilizing the data that has been found in the field. The results showed that the Apo Lagaan Art Studio had a role in the continuity of the sape' karaang in Samarinda City. The role of the Apo Lagaan Art Studio on the continuity of the sape' karaang in Samarinda City is carried out through studio activities related to activities, training, and performances of traditional Dayak Bahau music and dance. In addition, the Apo Lagaan art studio has also expanded its partnerships to several government agencies and schools to provide education to the general public about the importance of cultural preservation, especially by the younger generation. Abstrak: Sanggar seni Apo Lagaan pertama kali muncul di Samarinda pada tahun 2007 dan masih bertahan hingga saat ini. Sanggar seni Apo Lagaan merupakan sanggar seni yang berfokus pada bidang kesenian tradisi Dayak Bahau khususnya musik sape’ karaang. Penelitian ini bertujuan mengungkap bentuk peran Sanggar Seni Apo Lagaan dan bentuk penyajian sape’ karaang serta makna yang terkandung dalam permainannya. Penelitian ini menggunakan metode kualitatif. Teknik observasi yang digunakan meliputi objek penelitian dan penentuan informan. Teknik pengumpulan data penelitian ini antara lain studi pustaka, wawancara, dan dokumentasi. Teknik analisis data penelitian dilakukan dengan memanfaatkan data-data yang telah ditemukan lapangan. Hasil penelitian menunjukkan bahwa sanggar seni Apo Lagaan memiliki peranan terhadap kontinuitas sape’ karaang di Kota Samarinda. Peranan Sanggar Seni Apo Lagaan terhadap kontinuitas sape’ karaang di Kota Samarinda dilakukan melalui aktivitas sanggar yang terkait dengan kegiatan, pelatihan, dan pementasan musik dan tari tradisi Dayak Bahau. Di samping itu, sanggar seni Apo Lagaan juga memperluas kemitraannya ke beberapa instansi pemerintah dan sekolah-sekolah guna untuk memberikan edukasi kepada masyarakat awam akan pentingnya pelestarian budaya terutama oleh generasi muda.

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.

Faktor-Faktor yang Memengaruhi Pengetahuan Anak pada Lagu Daerah Kalimantan Zamrud Whidas Pratama; Famala Eka Sanhadi Rahayu
Jurnal Mebang: Kajian Budaya Musik dan Pendidikan Musik Vol. 1 No. 2 (2021)
Publisher : Program Studi Etnomusikologi, Fakultas Ilmu Budaya, Universitas Mulawarman

Abstract: Knowledge of elementary school-aged children in Kalimantan folk songs is a severe problem because children's knowledge is one of the factors that can affect the achievement of local song preservation. So that information is needed regarding surveys about what factors influence children's knowledge of Kalimantan folk songs. The theory used in this study is the theory of factors that influence learning. This study aims to determine the factors that influence children's knowledge of folk songs, especially Kalimantan. This study uses survey research with quantitative descriptive methods, namely, conducting field surveys. The sample of this study was 158 students, namely grades 5A and 5B of Elementary School 005 Samarinda, totaling 40 students, and classes 5A, 5B, and 5C of Elementary School 007 Samarinda totaling 118 students. The results of data analysis show that there are internal and external factors. The internal factor is that students listen to more popular songs because popular songs are currently packaged with unique and various videos. Even the advertisements that they usually hear contain many lyrics from popular songs today so that children are more interested and interested in listening to popular songs than folk songs. Another internal factor is when students do gymnastics together, the songs played are popular dangdut songs today. External factors indicate that the teacher's lack of knowledge about the folk songs of East Kalimantan. Abstrak: Pengetahuan anak-anak usia Sekolah Dasar (SD) pada lagu daerah Kalimantan merupakan permasalahan yang cukup serius, dikarenakan pengetahuan anak-anak merupakan salah satu faktor yang dapat mempengaruhi tercapainya pelestarian lagu daerah. Sehingga diperlukan informasi mengenai survei tentang apa saja faktor-faktor yang mempengaruhi pengetahuan anak pada lagu daerah Kalimantan. Teori yang digunakan dalam penelitian ini adalah teori faktor yang mempengaruhi belajar. Penelitian ini bertujuan untuk mengetahui faktor yang mempengaruhi pengetahuan anak terhadap lagu daerah khususnya Kalimantan. Penelitian ini menggunakan penelitian survei dengan metode deskriptif kwantitatif yakni melakukan survei lapangan. Sempel penelitian ini adalah 158 siswa, yaitu kelas 5A dan 5B Sekolah Dasar Negeri 005 Samarinda berjumlah 40 siswa, dan kelas 5A, 5B, dan 5C Seklah Dasar Negeri 007 Samarinda berjumlah 118 siswa. Hasil analisis data menunjukan bahwa terdapat faktor internal dan eksternal. Faktor internal adalah siswa lebih banyak mendengarkan lagu populer karena lagu populer saat ini dikemas dengan video yang unik dan bermacam-macam. Bahkan iklan-iklan yang biasa mereka dengar banyak gubahan lirik dari lagu-lagu populer saat ini, sehingga anak-anak lebih tertarik dan berminat untuk mendengarkan lagu populer daripada lagu daerah. Faktor internal lain adalah ketika siswa melakukan kegiatan senam bersama, lagu yang diputar adalah lagu-lagu dangdut populer masa kini. Faktor eksternal menunjukan bahwa kurangnya pengetahuan guru mengenai lagu daerah Kalimantan Timur.

BEDANDENG KUTAI: ORNAMENTASI MELISMATIS DALAM BEDANDENG KUTAI Zamrud Whidas Pratama; Aris Setyoko; Purwanti Purwanti
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 22, No 2 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v22i2.4538

One form of singing or humming that is spread orally is a traditional song or hum that comes from the Kutai tribe called Bedandeng. The purpose of this study was to obtain data on how the history and types contained in the art of Bendadeng. The theory used in this research is historical theory. In addition to the theory about history, the author will also describe the notation of the nyanyain or humming bedandeng. To study it, a qualitative descriptive study was chosen by prioritizing a musicological approach. Data collection is done by (1) literature study, (2) observation, (3) interview, (3) documentation. The stages in analyzing data are (1) data reduction, (2) data presentation, and (3) data analysis (4) conclusion. Clarification of data was again carried out using data triangulation techniques. The results of the study show dandeng or bedandeng is one of the speech arts that exists and develops in Kutai. Bedandeng is a song of lamentation to express what is in the heart. In bedandeng when singing it is not accompanied by any instruments or music and is sung in a recitative way. When viewed from the form of the melody and the lyrics of the bedandeng melody, each melodic phrase has a melismatic ornament. Melismatic ornaments are found at the end of each melodic phrase. It is said to have many melismatic ornaments because in singing Bedandeng, one syllable can be sung with several tones.Kata Kunci: Ornamentasi, Vokal, Bedandeng Kutai.

Musik Ritual Bebalai dalam Upacara Adat Pesta Laut Bontang Kuala di Bontang Kalimantan Timur Hirda Yulinalmi; Asril Gunawan; Zamrud Whidas Pratama
Jurnal Mebang: Kajian Budaya Musik dan Pendidikan Musik Vol. 3 No. 1 (2023)
Publisher : Program Studi Etnomusikologi, Fakultas Ilmu Budaya, Universitas Mulawarman

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30872/mebang.v3i1.42

This research aims to describe the presentation form and function of Bebalai music in the traditional ceremony of "Pesta Laut" Bontang Kuala. The "Pesta Laut" ceremony is a ritual for the indigenous people of Bontang Kuala that is still preserved and held every year from November to December. The "Pesta Laut" ceremony has meaning as a form of gratitude to God Almighty to be kept away from danger and various kinds of diseases. The Pesta Laut ceremony is divided into seven processions: (1) mencera buluh; (2) balai pompong; (3) melabuh perahu; (4) menjamu karang; (5) ance; (6) pagar mayang; and (7) balai puncak. The "Pesta Laut" ceremony also involves the arts, which include Bebalai music. The theories used are ceremony theory by Koentjaraningrat and function theory by R.M. Soedarsono. This research uses a descriptive method with a qualitative approach. The result of this research is that along with the times, the "Pesta Laut" ceremony has experienced a shift by adjusting to the environmental conditions of the community. It can be seen from the traditional rituals that were once highly sacred by the people of Bontang Kuala but are now carried out as ceremonial events.

Linearitas Wujud Tradisi Lisan terhadap Lagu Bedandeng Suku Kutai di Kecamatan Tenggarong Kresna Syuhada Rawanggalih; Yofi Irvan Vivian; Zamrud Whidas Pratama
Jurnal Mebang: Kajian Budaya Musik dan Pendidikan Musik Vol. 3 No. 1 (2023)
Publisher : Program Studi Etnomusikologi, Fakultas Ilmu Budaya, Universitas Mulawarman

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30872/mebang.v3i1.54

Bedandeng is one of the traditional vocals found in the Kutai tribe in Tenggarong District and is sung while working (in the fields) and putting children to sleep. Currently, many young people from the Kutai tribe are not familiar with the Bedandeng song because it is rarely performed, so they do not know its musical characteristics and the context in which it is spoken. Bedandeng song research uses qualitative methods with a descriptive analysis approach to determine musical forms and (non-musical) speech contexts. There are four Bedandeng lyrics which adjust the function, place, and activities of the singer (wailing, advising, and putting the child to sleep). The four lyrics of Bedandeng have musical characteristics by Jean Ferris which include phrases (antecedents and consequents), melodies (C – D – Eb – F – G – Ab), themes (adjusting the place and activities of the singer), scale (C scale Original Minor), and uses melismatic and syllabic concepts in each of its lyrics. Context of speech is also found in Bedandeng's fourth lyrics, namely culture, situation, social, and ideology. The songs in the four Bedandeng lyrics have a linearity that is related to the musical characteristics and speech context (oral tradition) in the lyrics conveyed by the singer.

GENDANG AGONG DALAM PERTUNJUKAN KUNTAU DI KABUPATEN PASER KALIMANTAN TIMUR Aris Setyoko; Zamrud Whidas Pratama; Pazru Rahman
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 23, No 1 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v23i1.4960

This study discusses working on the music of Gendang Agong in the Kuntau performance in Paser Regency, East Kalimantan. Gendang Agong is a traditional musical ensemble based on one of its functions used to accompany Kuntau performances, namely the martial arts or pencak silat traditions of the Paser Tribe. The study of the concept of garap karawitan Rahayu Supanggah related to the material for working on, cultivating, working on equipment, working on furniture/equipment for garap, determining the garap, and consideration on garap is used to analyze it. This research is a qualitative research with analytical descriptive research method. The results of the study show that the garap of Gendang Agong music has a working concept that applies in karawitan scholarship. The material for Gendang Agong is in the form of a transcript of musical notation by writing kepatihan notation with slendro pathet manyura. Cultivators are musicians who have a cultural background as the influence of virtuosity. The working facilities are in the form of quality musical instrument organology to support maximum sound. Furniture/cultivation tools, namely tools/software in the form of musicians' musical ideas that are formed based on their background as the casting of musical practice. The determining factor for garap is in the form of signs for musicians when working on it based on function, namely as an accompaniment for Kuntau. The consideration of working on it is musicians who are ready and responsive to emergencies for creativity when faced with an unsupportive performance venue. The series of six concepts worked on by supanggah is a unified whole that supports each other in forming traditional music compositions to build a musical atmosphere to accompany the Kuntau Paser performance.

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