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Sorai: Jurnal Pengkajian dan Penciptaan Musik

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Published by Institut Seni Indonesia Surakarta

ISSN : 24073938 EISSN : 26849445 DOI : -

Core Subject : Humanities, Art,

Arts Humanities

The journal invites original, significant, and rigorous inquiry into all subjects within or across disciplines related to music creation, music studios, and ethnomusicology. It encourages debate and cross-disciplinary exchange across a broad range of approaches. The spectrum of topics include: 1) Review of Nusantara Music 2) Sociology of Music 3) Anthropology of Music 4) World Music Culture 5) Digital Music Studies 6) Archaeology of Music 7) Intercultural Studies of Music 8) Ethnography of Music 9) Music and Multicultural Education 10) Music Criticism 11) Musician Profile and Thought 12) Artistic Review of the Music Creation Process.

Arjuna Subject : Seni dan Humaniora - Musik

Articles 73 Documents

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SOSIALISASI DAN INTERNALISASI DALAM PEMBELAJARAN DRUM ANAK-ANAK (Studi Kasus Pengajaran Drum di Lembaga Kursus Musik West Brothers) Indra Permana
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol 11, No 2 (2018)
Publisher : Institut Seni Indonesia Surakarta

ABSTRACTÂ This paper begins with an interest in seeing the musical abilities of children learners of non-formal institutions of West Brothers music course in playing the drum, where the children show "maturity" in the musical. The level of difficulty, the selection of song repertoire, and the stage action presented by the children tends to resemble drum players of adolescence and adulthood. This raises a question about socialization and internalization in learning.Â West Brothers as an educational institution becomes a place of transmission of knowledge, skills, and values from? educators to learners. In the process of transmission, there is socialization and internalization through social interaction in drum learning activities. This research aims to know how the form of socialization and internalization in the drum learning process in West Brothers, especially in children learners, and how the process of socialization and internalization that form behavior patterns manifest in the musical ability of children playing drum musical instruments. This paper reveals that child behavior patterns embodied in the ability and taste of musical drumming are influenced and shaped through the process of interaction between learners and teachers in the West Brothers environment, including socialization and internalization.Â Kata kunci : sosialisasi dan internalisasi, west brothers, kursus drum solo

KARYA KOMPOSISI MUSIK TETEG, REINTEPRETASI TRADISI PATHETAN SLENDRO SANGA NGELIK Mutiara Dewi Fatimah
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol 11, No 2 (2018)
Publisher : Institut Seni Indonesia Surakarta

ABSTRACTÂ The word â€œtetegâ€ comes from the Java language which means dare to deal with all issues both physical and non-physical. Teteg has the same synonym with tatag, tangguh, tanggon, and teguh. The form of this musical work is a reinterpretation of the traditional repertoire into a musical composition with new forms and colors. With the method of developing the traditional source, the composer carries the tradition of pathetan Sanga Ngelik. Pathetan sanga ngelik as the source of the creation of this music will be processed with a â€œgarapâ€ approach. One of the elements of garap mentioned above includes: technique, pattern, rhythm, laya, laras, pathet, and dynamics. Pathetan sanga ngelik will be described into several forms such as, merong form, ladrang, ketawang, lancaran, ayak-syak, srepeg, and palaran. This music also explores various characters which is called "rasagendhing" that consists : rasa sereng, gagah, regu, prenes, sigrak, gumyak, luruh, and gayeng or gecul. In this part, drama and music concepts appear in this work. Some other styles also exist in this work, among others: this work combines Surakarta style (Solo), Yogyakarta style, Nartosabdan style and also style outside the palace (rural) or Sragenan. The idea of this art work will be framed by the concept of "teteg" with meaning contained.Â Kata kunci: komposisi musik, teteg, reintepretasi tradisi pathetan slendro sanga ngelikÂ

FUNGSI GENDING AYAK WOLU PADA WAYANG KULIT GAGRAG JAWA TIMURAN KI SURWEDI Jepri Ristiono
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol 11, No 2 (2018)
Publisher : Institut Seni Indonesia Surakarta

ABSTARCTÂ This article originated from the interest of the author when he saw the phenomenon that occurred in the East Javanese leather puppet show Ki Surwedi, especially gending Ayak pathet Wolu which is very dominating. The discussion is focused on the gending function of Ayak pathet Wolu which concerns the relation of the song with the gamelan, so that it can conclude about the role and function of the song. Therefore, this article is qualitative with priority on the form of interview data and literature, and presented in descriptive-analytic. The data collected from various sources was analyzed using the function theory initiated by Alan P. Merriam in a book entitled The Anthropology of Music, translated by Hajizar in the form of "Concept as Source of Analysis". From this research, it can be concluded that the gending function of Ayak pathet Wolu in wayang Ki Surwedi is one of the art forms from ancestors that has been passed down from generation to generation. Therefore, it has become our collective duty to preserve it in order to avoid extinction.Â Kata kunci: ayak wolu, fungsi gendhing, wayang Jawa Timuran, Ki Surwedi

PENGARUH KARAWITAN GAYA SRAGEN PADA SELERA MASYARAKAT KEBAKKRAMAT Joko Wahyudi
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol 11, No 2 (2018)
Publisher : Institut Seni Indonesia Surakarta

ABSTRACTÂ This article discusses the influence of Sragen Style on the change of gamelan performance in Kebakkramat, Karanganyar. The Kebakkramat community who previously liked the performance style of Surakarta gamelan, are currently experiencing a change in taste to prefer Sragen style. Sragen style is popular in Sragen regency, because its location is adjacent to Karanganyar regency, giving influence to the style of karawitan art presentation in Kebakkramat sub-district. Sragen style gamelan has the characteristic of being simpler, louder, and easier to understand, and more flexible because Sragen style can be presented in all genres of songs, one of them being dangdut. Factors affecting the changing tastes of the population are increasing and decreasing population, new discoveries and environmental conditions. People in Kebakkramat sub-district experienced an increase and decrease of the population which indirectly affected the social and cultural environment. The emergence of a community of lovers of Sragen style and the rapidly growing media role also became an influence on people's tastes. In addition, the use of additional instruments in Sragen style and the role of MC in guiding the event to give a new color that makes the atmosphere more playful so is more liked by the community. Sragen style that tends to contradict with Surakarta style is increasingly in demand by Kebakkramat community, so indirectly causes pros and cons, both from artist and music lovers. In response, the two opposing views can be combined with reference to four dimensions, namely capitalism, industry, supervision and control. It aims to make Sragen style accepted as art of karawitan, but still under supervision and control, so as not to go too far of the characteristic of karawitan itself.Â Kata Kunci : karawitan, gaya Sragen, Sragenan, pengaruh, perubahan, Kebakkramat.

KARYA MUSIK YOUTH KELOMPOK MUSIK SOLOENSIS (Kajian Proses Penciptaan Dan Makna Teks Lagu) Bekti Setyo Utomo
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol 11, No 2 (2018)
Publisher : Institut Seni Indonesia Surakarta

ABSTRACTÂ This paper focuses on the creative process of the song entitled Youth, and also the meaning of the lyrics. The lyrics and the structure of the music presented is a contradiction between the lyrics and the musical form. The song Youth created by the Soloensis music group used the major scales. Then, the character of their musical composition is cheerful and uses instruments that are not normally played in their works.Â The song Youth is a song with a message about the anxiety of the creator's youth. In the end, the content of the message is transformed into a song with a contrasting musical composition. This music constructs an atmosphere of anxiety and sadness using the diatonic major scale which is usually cheerful.Â Kata kunci : musik youth, soloensis, makna teks lagu

MUHAMAD KARNO KUSUMO DARMOKO PELOPOR KARAWITAN SRAGENAN Robert Aris Widodo
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol 11, No 2 (2018)
Publisher : Institut Seni Indonesia Surakarta

ABSTRACTÂ Starting from an idea to reveal the creativity of the artist who spearheaded the emergence of Karawitan Sragenan, Muhamad Karno Kusumo Darmoko through the process of artistry with the art work. Sragenan style started when the karawitan in Sragen began to be displaced by Dangdut music (orkes Melayu).Â Karno is one of the artists in Sragen who feel anxious about the situation and think about how to keep karawitan alive in Sragen. With the spirit of maintaining the existence of karawitan in Sragen and by having the educational background of art, Karno did some experimental process working on musical karawitan which culminate in an invention musical concept Sragenan style. Karno classifies that there are two concept of patterns in Sragenan style, they gecul and dangdut. The existence of Karawitan Sragenan style also has an impact on karawitan in Sragen, Sragen society and Muhamad Karno Kusumo Darmoko as the pioneer of Sragenan.Â Kata kunci : M. Karno KD, karawitan, kreativitas, Sragenan

INTERAKSI MUSIKAL MELALUI GESTUR DAN VERBAL DALAM MUSIK JAZZ Fabianus Deny Christianata Putra
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol 11, No 1 (2018)
Publisher : Institut Seni Indonesia Surakarta

ABSTRACTÂ This paper explains a process of musical interaction in jazz music performances, on the performances of Solo Jazz Society musicians in Surakarta. The focus of this paper is about (1) how the process of musical interaction between Sojazz musicians occurs and (2) what factors cause musical interaction between Sojazz musicians. With the aim (1) to know how the process of musical interactions between Sojazz musicians occur and (2) to know the factors that cause the musical interactions between Sojazz musicians. The research method used is qualitative with descriptive analysis approach.Â n the performance, Sojazz musicians perform musical interactions between musicians through two forms of process. Gesture interactions that include eye contact, hand code, head jerking, lip reading and overall body posture are applied as cues while improvising. The second form of the process is through the musical interaction itself which is Accompaniment, melodic phrase and rhythmic motif, tension growth, and trade four. The process of musical interaction applied by Sojazz musicians as mentioned above, is through gesture used to create mutual interaction between musicians.Â Kata kunci : Solo Jazz Society, interaksi musikal jazz,

TEKNIK ADAPTIF KELOMPOK MUSIK OPSI TOP FOURTY TERHADAP RUANG PERTUNJUKAN DI SURAKARTA Fariz Hananto
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol 11, No 1 (2018)
Publisher : Institut Seni Indonesia Surakarta

ABSTRACTÂ This article aims to reveal and explain adaptive techniques from the Top Fourty OPSI music group in the performance space in the city of Surakarta. This study used two theories, namely the theory of adaptation proposed by Suparlan and Gerungan, as well as the theory and concept of the performance space proposed by Alexander et al. in 1977. Then, the authors also conduct research by participant observation and qualitatively to obtain data in accordance with the facts in the field. From the results of this study, three adaptive techniques were found that need to be done by top fourty musicians, namely (1) the selection of songs, (2) arrangement, and (3) stage expression. The adaptive technique must be truly owned by every top fourty musician, so that they can master any kind of show space to entertain the audience.Â Kata Kunci : musisi top fourty, teknik adaptif, ruang pertunjukan

KERONCONGKU, NGRONCONGI Bayu Raditya Prabowo
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol 11, No 1 (2018)
Publisher : Institut Seni Indonesia Surakarta

ABSTRACTÂ Keroncong music has a basic concept of musical achievement that is often expressed by keroncong artists with the word "ngroncongi". Ngroncongi is a term that refers to the Java language. Keroncong becomes the basic word, which at the beginning of the word is affixed "Ng-Â "Â and at the end the word gets "-i", so initially keroncong is a noun, turning into an adjective after it turns into "ngroncongi". Ngroncongi is a musical aspect that becomes an indication of keroncong music characteristic. Ngroncongi will be achieved when it reaches the aesthetic and keroncong culture. Musicality which is "ngroncongi" is constructed by several musical elements such as, samen spelen; ngglali; nyendaren; mbesut; luk; gojek; isen-isen; mbanyumili; and sintiran. Those elements are synergized to accommodate the concept of "ngroncongi". The elements of rhythmic pattern are sintiran, mbanyumili, and gojek. The elements for ornamentation are ngglali; mbesut; luk; nyendaren; and isen-isen. While the element of "samen spelen" is for a musical interaction between players by giving each other musical communication. These elements found from the emissive knowledge of keroncong players who are represented in musical way to build musicality which is called "ngroncongi".Â Kata kunci : Keroncong, Ngroncongi, Musikalitas

KREATIVITAS ARI WULU SEBAGAI DJ DALAM EDM (Electronic Dance Music) Hanolda Gema Akbar
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol 11, No 1 (2018)
Publisher : Institut Seni Indonesia Surakarta

ABSTRACTÂ EDM is an electronic music that is rising in popularity in the present era. This phenomenon that led to the birth of a young DJ, and also gave birth to a big festival with the theme of EDM. EDM has a relationship with the concept of DJ which is the operator who controls the music to be presented at every show. DJ has had a rapid development, which formerly departed from broadcaster radio. Now DJs can be found everywhere since EDM has expanded out of its normal place in discotheques.Â Ari Wulu is a DJ who has different characters. The purpose of this research is to know the creativity of Ari Wulu which is explained based on the opinion of Rhodes using 4P consisting of Person, Press, Procces, and Product. The result of the research is the creativity of Ari Wulu as a DJ in EDM, much influenced from his experience as an electronic music composer. The music form chosen by Ari Wulu is purely electronic music that has a repetitive rhythm and uses pentatonic melodies.Â Kata Kunci : EDM, Ari Wulu, kreativitas, dan bentuk musik

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Reizki Habibullah

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Location
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Jawa tengah

INDONESIA

Abstract

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Home Page

OAI Link

Editorial Team

Contact

Reviewer

Google Scholar

Contact Name Reizki Habibullah

Contact Email reizkihabibullah@gmail.com

Phone +6281372370131

Journal Mail Official jurnalsorai@gmail.com

Editorial Address Jl. Ki Hadjar Dewantara No.19, Kentingan Jebres Surakarta, Indonesia

Location Kota surakarta, Jawa tengah INDONESIA

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Contact Name
Reizki Habibullah

Contact Email
reizkihabibullah@gmail.com

Phone
+6281372370131

Journal Mail Official
jurnalsorai@gmail.com

Editorial Address
Jl. Ki Hadjar Dewantara No.19, Kentingan Jebres Surakarta, Indonesia

Location
Kota surakarta,

Jawa tengah

INDONESIA