Jurnal Sendratasik
Jurnal Sendratasik diterbitkan 4 (empat) kali pada bulan S Maret, Juni, September, dan December denganmemuat artikel / artikel penelitian di bidang musik, tari, dan drama serta pembelajarannya. Memuat teks yang dihasilkan oleh kelompok penyunting, naskah yang digunakan adalah naskah yang lolos dan tidak pernah / tidak akan pindah ke jurnal lain. Jurnal Sendratasik menerima naskah yang memberikan wawasan tentang isu-isu terkini, dan terutama berhubungan dengan studi Seni Pertunjukan dan Pembelajarannya(Seni Drama, Tari dan Musik) dengan menyebar luaskan pengetahuan di bidang-bidang yang muncul dan berkembang. Hasil riset, terdiri dari laporan ilmiah yang meningkatkan pengetahuan tentang seni secara umum, seni pertunjukan, dan pendidikan seni. Baik dalam bentuk artikel yang melaporkan hasil studi penelitian kuantitatif atau kualitatif. Artikel secara konseptual harus relevan untuk memajukan Seni Pertunjukan dan Pembelajarannya, menyajikan teori tentang seni, model, posisi filosofis, dll. Artikel juga dapat mengacu pada teori-teori ataupun materi- materi yang dikembangkan dalam praktik dan pendidikan seni pertunjukan. Bahasa naskah yang dikirimkan dalam bahasa Indonesia. Harus membahas tentang masalah serta kontribusi baru yang signifikan untuk bidang praktik dan pendidikan seni pertunjukan. Artikel dapat berasal dari salah satu bidang berikut: - Drama - Tari - Musik dan / atau Musik Tradisional - dan Pembelajarannya
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<![CDATA[Penggunaan Metode Konvensional Oleh Guru Pada Pembelajaran Seni Budaya (Musik) Di SMP Negeri 2 Painan ]]>
<![CDATA[Alexander Pratama Saputra]]>;
<![CDATA[Yos Sudarman]]>;
<![CDATA[Marzam Marzam]]>
<![CDATA[ SENDRATASIK UNP Vol 8, No 4 (2019) ]]>
Publisher : <![CDATA[FBS Universitas Negeri Padang ]]>
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DOI: 10.24036/jsu.v7i4.105110
<![CDATA[The study aims to explain the using of conventional learning method in the learning of cultural art (music) at SMP 2 in Painan. Besides of the usage of the relevant studies as additional references, then theoretical framework is used in this study that related to study and learn, conventional learning method and cultural art learning. Based on theoretical framework, it is known that the method used is conventional learning method such as lecture, discussion, demonstration/excerice and assignment. The result of study and discussion shows that the teachers teach the cultural art (music) at class VII in SMP 2 Painan use the conventional learning method with lecture method dominantly. The choosen method is used by the teachers, besides of the teachers want to, it is attached in RPP, it is also because the teachers who have expreience in teaching for a long time. Eventhough the leture method is used dominantly, the cultural art learning is still run well at the class, the students is active and enthusias in learning. The conclusion can be drawn that eventhough the learning only use the lecture method, the teachers are able to use the another methods such as discussion that cause cultural art learning (music) become interesting and enjoyable.]]>
<![CDATA[Pembelajaran Instrumen Musik Tradisional Rabab Kelas X Di SMK Negeri 7 Padang ]]>
<![CDATA[Vivin Okprioni]]>;
<![CDATA[Harisnal Hadi]]>
<![CDATA[ SENDRATASIK UNP Vol 8, No 4 (2019) ]]>
Publisher : <![CDATA[FBS Universitas Negeri Padang ]]>
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DOI: 10.24036/jsu.v7i4.105106
<![CDATA[ This article aims to know the process of learning music rabab against learning styles students use audio visual media in SMK Padang 7. This type of research is qualitative descriptive method. Object of research i.e. grade X Karawitan SMKN 7 Padang. The data obtained is collected through literature study, observation, interviews, and documentation. Results of the study is that the results of student learning is already quite good than ever before. Based on the results of the observation of learning styles, media relevant to learning is applied in the audiovisual media. Lying spirit and students in learning the music improved rabab. Students are more motivated to follow the music learning process of learning from the rabab proved that followed with active students analyze, follow, move, touches and bold things in regard to learning music rabab. It also can be proved by the increase in student learning outcomes assessment.]]>
<![CDATA[Pembelajaran Pianika Dengan Menggunakan Metode Tutor Sebaya Di SMP N 9 Padang ]]>
<![CDATA[Yulia Sesmita]]>;
<![CDATA[Harisnal Hadi]]>
<![CDATA[ SENDRATASIK UNP Vol 8, No 4 (2019) ]]>
Publisher : <![CDATA[FBS Universitas Negeri Padang ]]>
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DOI: 10.24036/jsu.v7i4.105107
<![CDATA[This article aims to describe the implementation of learning music pianika using peer tutors in Class VII.5 at 5 SMP Negeri 9 Padang. This type of research is qualitative research using descriptive method. The main instrument in this study is the researchers themselves and assisted with the instrument's supporters such as stationery and photo cameras. Types of data using primary data and secondary data. The technique of data collection is done by way of observation, interview, documentation and study of the literature. Stages of analyzing data is grouped data, clarifying data and describes the data. The results showed that Learning pianika, using the method of Peer Tutors SMP Negeri 9 Padang Kelas VII.5 already carried out in accordance with what is expected. Results achieved students from daily value 95% student satisfaction in learning material pianika and also can we compare with the results of student learning using conventional methods before learning the results with only 70%. Art Learning culture can be summed up with a peer tutor methods approach with the basic concept of the game a simple musical instrument individually very precisely made.]]>
<![CDATA[Makna Tari Kejai Dalam Upacara Pesta Perkawinan Di Desa Topos Kecamatan Topos Kabupaten Lebong Provinsi Bengkulu ]]>
<![CDATA[Suci Ramada Jayanti]]>;
<![CDATA[Desfiarni Desfiarni]]>;
<![CDATA[Nerosti Nerosti]]>
<![CDATA[ SENDRATASIK UNP Vol 8, No 4 (2019) ]]>
Publisher : <![CDATA[FBS Universitas Negeri Padang ]]>
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DOI: 10.24036/jsu.v7i4.105112
<![CDATA[This article aims to describe and analyze the meaning of the Kejai Dance in a wedding Party in the Rejang society of Lebong Regency in Bengkulu Province. The type of this study was qualitative. The instruments used in collecting data were stationery, cameras, cellphone and handycam. The types of data in this study were primary and secondary data. The techniques of data collection were done by means of literature studies, observations and interviews. The steps in analyzing data were done by doing data reduction, data model (data display), withdrawal or verification conclusions. The results of the study indicate that the Rejang society of Lebong regency in Bengkulu Province has the Kejai Dance which has a social meaning matchmaking at a wedding party. The meaning is expressed in the movements of the Kejai dance as follows: (1) Sambah movement gives the sense of gratitude to Allah SWT so that it is given a smooth and straightforward work all that is to be done. (2) awal movement to begins the dance has the meaning that the society is always slow to do a job and always think first to make a decision. (3) Siap movement to get acquainted has good attitude and has good procedures. (4) Memberi dan menerima movement has the meaning that this society always receives whatever the results of the business they get in the form of gratitude. (5) Patah dayung movement has the meaning the society has a stand in every action and their hard work. (6) Sambah penutup movement has the meaning that every work that is done is always runs well and keeps returning to take care of it well whatever the results. Each movement has very deep meaning so that those show that the Kejai Dance includes life and social values in matchmaking betweenlackey and maid in the society of the Topos Village. The equipments (properties and costumes) give meaning to that society always has polite attitude and polite in dressing. The floor patterns mean that a married life is very simple but still solid and secure. The music instrument gives the meaning that the life of the Rejang area is also very simple. The Kejai Dance performance in a wedding party has an overall meaning which is the value of people's lives, responsibility and mutual respect as a binder of solidarity to strengthen the relationship among people.]]>
<![CDATA[Pembelajaran Seni Musik Di SMAN 1 Koto XI Tarusan ]]>
<![CDATA[Tasnim Kenedi]]>;
<![CDATA[Jagar Lumbantoruan]]>
<![CDATA[ SENDRATASIK UNP Vol 8, No 4 (2019) ]]>
Publisher : <![CDATA[FBS Universitas Negeri Padang ]]>
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DOI: 10.24036/jsu.v7i4.105108
<![CDATA[This study aims to describe the impementation of the music art learning at Xmia2 class in SMA Negeri 1 Koto XI Tarusan. The type of this study was qualitative descriptive. The study object was Xmia2 students in SMA Negeri 1 Koto XI Tarusan that consisted of 23 students. The Instruments used in this study were observation sheet, interview questions and documentation. The result of study shows that the music art learning in SMA Negeri 1 Koto XI Tarusan does not use curriculum 2013, but they use KTSP. In related to the planning of learning, the basic musical theory is arranged becoming 5 indicators. The fifth indicators are not described in purpose of the learning which is purpose of the learning formula focuses on only cognitive domain. It does not include the affective and psychomotor domains yet. The learning materials are factual and procedural. The learning method that is delivered by the teachers is lecture, discussion and assignment. The used media is pianette, meanwhile the teachers use guitar. In the steps of the printed learning in RPP, it uses scientific approach namely doing observation, asking question, doing exploration, associating, communicating, yet in the implementation which is implemented by the teachers, they only doing observation and asking questions. Furthermore, the teachers evaluate the learning to know the level of learning achievement. The fact is the students’ study result are complete.]]>
<![CDATA[Analisis Struktur Lagu Bungong Jeumpa Aransemen Paul Widyawan ]]>
<![CDATA[Bevi Sinda Putri]]>;
<![CDATA[Jagar Lumbantoruan]]>
<![CDATA[ SENDRATASIK UNP Vol 8, No 4 (2019) ]]>
Publisher : <![CDATA[FBS Universitas Negeri Padang ]]>
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DOI: 10.24036/jsu.v7i4.105102
<![CDATA[ The purpose of this study is to analyze and describe the Bungong Jeumpa song that arranged by Paul Widyawan based on melodic and harmonic principles. This type of research was qualitative with an approach to analyzing the content of objectivity of generalization structures. The theory used was the theory of understanding analysis, song structure, arrangements, choir arrangement techniques, (chord progression) and contrapung. Data in this study was taken from literature studies, interviews and experiment. The results of the study obtains that the Bungong Jeumpa song has two-part of song form, namely period A which is built two phrases, namely a and x phrases and period B which is built two phrases, namely b and a phrases'. Bungong Jeumpa song is arranged based on the structure of the song including the intro, the core part of the song and coda. In arranging, Paul Widyawan is not only based on the initial chord progression, but also developing the chord become more varied and added non harmonic tones. Cadence in Bungong Jeumpa is authentic half, imperfect authentic, perfect authentic and picardie third cadences. Patternically, the movement of the tones in the four octaves of the melody moves in a non-parallel manner. Motus is between soprano and alto tends to be parallel (motus rectus), motus is between soprano and tenor tends to deviate (motus obliqus) and motus is between soprano and bass also tends to deviate (motus obliqus). Besides, Paul Widyawan adopts the contrapung (counterpoint) theory of conventional western music which the sound on cantus firmus is not always be in the soprano (keep moving).]]>
<![CDATA[Hubungan Antara Kecerdasan Emosional Dengan Hasil Belajar Seni Musik Kelas XI SMA Negeri 1 Ujungbatu ]]>
<![CDATA[Aidha Thania]]>;
<![CDATA[Tulus Handra Kadir]]>
<![CDATA[ SENDRATASIK UNP Vol 8, No 4 (2019) ]]>
Publisher : <![CDATA[FBS Universitas Negeri Padang ]]>
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DOI: 10.24036/jsu.v7i4.105104
<![CDATA[ This article aimed to determine the relationship between emotional intelligence and Music Art Learning Outcomes of the class IX in Senior High School 1 Ujungbatu. Type of research was quantitative research. The forms of research instrument were questionnaires and documentation. The types of data in this study were both primary and secondary. Techniques of data collection were done by giving questionnaire and documentation. Data analysis was done in several stages, namely test requirements analysis and hypothesis testing. Based on the results of the study, the contribution coefficient between emotional intelligence and learning outcomes is obtained at 23.74%. From the data analysis test, it is found that the data is normal and homogeneous. The test result is at the significance level of α 0.05 (95% of confidence level) obtained a value of rcount = 0.4878 and rtable = 0.220 so that it is obtained rcount> rtable (0.4878> 0.220). This is reinforced by the results of the significance test which shows tcount = 4.9351 and ttable = 1.990 so that tcount> ttable (4.9351> 1.990) is obtained. Thus H0 is rejected and H1 is accepted which means that there is a positive and significant relationship between emotional intelligence and the Music Art Learning outcomes of the class XI in Senior High School 1 Ujungbatu.]]>
<![CDATA[Penggunaan Sumber Belajar Diktat Buatan Guru Pada Pembelajaran Seni Budaya Di MTS Padang Laweh Kabupaten Sijunjung ]]>
<![CDATA[Driyanda Litaimer]]>;
<![CDATA[Irdhan Epria Darma Putra]]>
<![CDATA[ SENDRATASIK UNP Vol 8, No 4 (2019) ]]>
Publisher : <![CDATA[FBS Universitas Negeri Padang ]]>
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DOI: 10.24036/jsu.v7i4.105109
<![CDATA[This article aimed to explain the results of learning the art of music by using a course book made by teacher on Cultural Arts (Music) subject at MTs Padang Laweh, Sijunjung Regency. The main instrument in this study was the researcher himself and assisted with supporting instruments such as stationeries and cameras. The technique of data collecting was done by survey, literature study, observation and interviews. Then, the data were analyzed by looking at the results of observation and the results of interviews that had been conducted during the study. The results of the study indicated that interpersonal communication applied all learning methods, through the course book of cultural arts learning made by art and culture teacher at MTs Padang Laweh in Sijunjung District succeeded in the learning process through the course book. The learning process was designed in such a way as to apply the concept of simple and fun learning process to produce young generation that are intelligent, active and characterized. The implementation of the course book objectives consisted of interpersonal communication which referred to the continuity of education in which all activities involved teacher and students. Interpersonal communication was proven to be effective in helping teacher and students in the learning process because they could understand and each other’s characters. Thus, the educational process could take place well and effectively. The achievements of the MTs Padang Laweh in Sijunjung Regency indicate the success of teaching materials of the course book applied at the school.]]>
<![CDATA[Faktor-Faktor Penghambat Pembelajaran Seni Budaya (Seni Tari) Di SMP Negeri 4 Padang ]]>
<![CDATA[Evindo Marsiano]]>;
<![CDATA[Nerosti Nerosti]]>;
<![CDATA[Fuji Astuti]]>
<![CDATA[ SENDRATASIK UNP Vol 8, No 4 (2019) ]]>
Publisher : <![CDATA[FBS Universitas Negeri Padang ]]>
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DOI: 10.24036/jsu.v7i4.105103
<![CDATA[This article aims to describe the inhibiting factors of the process of learning art and culture, especially in dance teaching materials at SMP N 4 Padang. The type of this research was qualitative using an analytical descriptive approach. Data collection techniques were conducted through observation, interviews, documentation and literature study. Data analysis was done by: data reduction, data presentation and verification of data in conclusion. The results indicated that the inhibiting factors of art and culture learning (dance) at SMP N 4 Padang were: (1) teacher factors, teacher factors which meant that improper use of methods, classroom management, and mastery of teacher material in teaching had an impact on student abilities responding to students in participating in this dance learning. The method given by the teacher did not vary so that students appeared bored and did not care about learning dance so that classroom management became noisy added by the lack of mastery of the material by the teacher, (2) student factors. It could be seen through 3 indicators, namely desire, attention and participation, which could be seen from the first meeting to the third meeting. This could be proven in the first meeting with a percentage of 1.5%. The second meeting was 1.3%, and there was a decrease in the third meeting with a percentage of 1.1%, and (3) the infrastructure facilities used in SMP N 4 Padang in the dance learning process were incomplete, so students' interest in the dance learning activities was low due to space that was not available in the process of learning dance. Thus, the learning process has not been effective.]]>
<![CDATA[Pembauran Budaya Dalam Penyajian Kesenian Ronggiang Di Padang Tujuah Kanagarian Aua Kuniang Pasaman Barat ]]>
<![CDATA[Rahmat Adriyanto]]>;
<![CDATA[Afifah Asriati]]>;
<![CDATA[Indrayuda Indrayuda]]>
<![CDATA[ SENDRATASIK UNP Vol 8, No 4 (2019) ]]>
Publisher : <![CDATA[FBS Universitas Negeri Padang ]]>
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DOI: 10.24036/jsu.v7i4.105105
<![CDATA[ This article aims to describe the mixing of cultures in the presentation of Ronggiang art in West Pasaman, especially in the Kanagarian Tujuah Padang Aua Kuniang. The type of this research was qualitative research and used descriptive methods. The main instrument in the research was the researcher himself and was supported by supporting instruments such as stationeries, video camera and audio recorder. Data collection techniques were conducted by means of library research, observation, interviews, and documentation. The data analyzed was carried out by the steps of data collection, data reduction, data presentation and conclusion. The results indicated that the mixing of cultures in Ronggiang arts was that Ronggiang's arts could be enjoyed by tribes who had already located and became residents of the West Pasaman or specifically in Kanagarian Aua Kuniang. The three tribes that are currently residents of West Pasaman are derived from three cultures in Ronggiang art. The cultural elements that assimilate in Ronggiang dance are Malay, Minang and Javanese cultures. These cultures are not packaged into one dance project, Ronggiang art in Kanagarian Aua Kuniang. The impact of cultural assimilation in Ronggiang art has caused Ronggiang's art to survive in the lives of the Kanagarian Aua Kuniang community.]]>
