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Grenek: Jurnal Seni Musik
Published by Universitas Negeri Medan
ISSN : 23015349     EISSN : 25798200     DOI : https://doi.org/10.24114/grenek.v10i1
Core Subject : Humanities, Science, Education, Art, Social,
Arts Humanities Computer Science & IT Education Social Sciences
Grenek : Jurnal Seni Musik merupakan jurnal yang dikelola oleh prodi pendidikan musik jurusan sendratasik FBS Unimed. Grenek: Jurnal Seni Musik menyajikan persoalan dan isu-isu terkini tentang musik di Indonesia terkhusus di Sumatera utara. Grenek : Jurnal Seni Musik secara khusus membahas tentang pendidikan musik, penyajian musik, pengelolaan musik, penciptaan musik, serta pengkajian musik.
Arjuna Subject : Seni dan Humaniora - Musik
Articles 174 Documents
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GONDANG DAN SISTEM KEKERABATAN ETNIK ANGKOLA LIDIA EPANGELIA
Grenek: Jurnal Seni Musik Vol 7, No 2 (2018): Grenek : Jurnal Seni Musik
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/grenek.v7i2.10654

Abstract

This study aims to find out the Angkola ethnic kinship system, to know Angkolagondang shape and to interpret the relationship of gondang and the ethnickinship system of Angkola. This research is based on a theoretical explainingthe understanding of gondang and the Angkola ethnic kinship system by usingthe theory of deconstruction, semiotics and ethnomusicology. This researchwas conducted from September 2017 to October 2017 in Kecamatan Arse,Simangambat Street, KM. 11, Arse Nauli. The research method used isdescriptive qualitative. The population in the study was non-existent and theresearch sample consisted of five indigenous figures and Angkola artists. Theresearch result explores that gondang and relatives of ethnic Angkola areneeded in showing their identity as ancestral cultural heritage which deservesto be appreciated by society. The relationship between gondang and the ethnickinship system of Angkola states that gondang is a representation of the kinshipsystem by looking at the relationship between each instrument in Angkolagondang ensemble which is a manifestation of na tolu transition in traditionalceremony.
KONTRIBUSI MUSIK KLASIK SEBAGAI IRINGAN TARIAN BALLET DI ROYAL BALLET CENTRE MEDAN Johana Teresia Purba
Grenek: Jurnal Seni Musik Vol 7, No 2 (2018): Grenek : Jurnal Seni Musik
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/grenek.v7i2.10655

Abstract

This study aims to find out the background of the use of classical music as Balletdance accompaniment, whatever classical music title used as Ballet danceaccompanist, and how the contribution of classical music as Ballet danceaccompaniment.This research is based on a theoretical explanation of the meaningof contribution, classical music, music accompaniment and Ballet dance. Thisresearch was conducted in September 2017 until November 2017. This researchuses Qualitative Descriptive method, which become population and sample in thisresearch is Ballet students at Intermedite level at Royal Ballet Center Medan. Thisresearch takes place on Jl. General Ahmad Yani No 104 A Medan. The data werecollected by observation, interview, visual / drawing / documentation, literaturestudy and triangeles.The results of this study indicate that the contribution ofclassical music as Ballet dance accompaniment that is as one motion of relaxation,motion confirmation, atmosphere builder, trigger memory and as an illustration.Classical music contributes greatly to Ballet dance accompaniment. Whenperforming the initial stage or heating the music used is Le Cygne. Movement isdone at this stage is the plie movement, then in the second stage or core of the musicused is Swan Lake, then the move is done Swan Lake dance that resembles themovement of swans, movements performed in accordance with the classical musicused
FUNGSI DAN TEKNIK PERMAINAN ALAT MUSIK TRADISIONAL MANDAILING UYUP-UYUP DI DESA PARGARUTAN JAE TAPANULI SELATAN Eben Ezer Silaban
Grenek: Jurnal Seni Musik Vol 7, No 2 (2018): Grenek : Jurnal Seni Musik
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/grenek.v7i2.10896

Abstract

This study aims to determine Function, Game Techniques and Organic Uyup-Uyup In PargarutanVillage Jae Tapanuli Selatan. The purpose of this research is to know the function, game techniqueand organology of mandailing uyup-uyup instrument in Pargarutan Jae Tapanuli Selatan Villagecommunity. The theory used is function, game technique and organology. The function of music isto express the taste and simultaneously as an activity of various types of human communication.Organology is the study of the structure of musical instruments based on sound sources, how toproduce sounds and system of alignment. Game technique is a way or technique of touch on amusical instrument over a particular tone according to the instructions or notation. The methodused in this research is qualitative descriptive method. The sample in this research is one artist andfive people of Pargarutan Jae Village. Data collection was done by observation, interview, anddocumentation. This research was taken in Pargarutan Jae Village, and this research was carriedout from October 2017. The function of Uyup-uyup music instrument in South Tapanuli there arethree of the first is the function of emotional disclosure is a medium for someone to express feelingsand emotional through the game of uyup-uyup instruments that use systematic way of presentingthe sound. The second is the entertainment function in which the South Tapanuli also needentertainment that is the entertainment of playing a uyup-uyup instrument at rest in the rice fields.Third is the Communication Function where when calling the opposite sex across the paddy fieldthe man repeatedly played uyup-uyup. Organic musical instrument Uyup-uyup consists of fiveparts, namely rice stalks, coconut leaves and lidi as a binder of coconut leaves. The game techniquein the uyup-uyup instrument is divided into the first three sections that are played in a sitting /standing position, the second way of blowing uyup-uyup is by way of the mouth is placed at thebase of the top of the uyup-uyup instrument, the third position of the finger finger, first startingfrom the left hand with the beginning of the index finger and the second hole of the middle fingerand then on the right hand begins with the index finger and the hole of both middle fingers.
IMPLEMENTASI TEKNIK VOKAL NASAL PADA PADUAN SUARA MAHASISWA SOLFEGGIO CHOIR UNIVERSITAS NEGERI MEDAN Siska Magdalena Siregar
Grenek: Jurnal Seni Musik Vol 7, No 2 (2018): Grenek : Jurnal Seni Musik
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/grenek.v7i2.10898

Abstract

Penelitian ini bertujuan untuk mengetahui proses implementasi teknik vokal nasalpada Paduan Suara Mahasiswa Solfeggio Choir Universitas Negeri Medan. Tujuanpenelitian ini adalah untuk mengetahui karakteristik teknik vokal Nasal padaPaduan Suara Mahasiswa Solfeggio Choir Universitas Negeri Medan, untukmengetahui fungsi implementasi teknik vokal Nasal pada Paduan Suara MahasiswaSolfeggio Choir Universitas Negeri Medan, untuk mengetahui hasil yang diperolehsetelah mengimplementasikan teknik vokal Nasal pada Paduan Suara MahasiswaSolfeggio Choir Universitas Negeri Medan.Teori yang digunakan adalah teori implementasi, teknik vokal, teknik vokal nasal,paduan suara. Implementasi adalah perluasan aktivitas yang saling menyesuaikan.Teknik vokal adalah suatu cara memproduksi suara yang baik dan benar, sehinggasuara yang keluar terdengar jelas, indah, merdu, dan nyaring. Teknik vokal nasaladalah vokal yang diartikulasikan dengan udara yang keluar dari hidung yangmenghasilkan bunyi suara yang sengau. Paduan suara atau koor merupakan istilahyang merujuk kepada ensambel musik yang terdiri atas penyanyi-penyanyi maupunmusik yang dibawakan oleh ensambel tersebut.Metode dalam penelitian ini menggunakan metode deskriptif kualitatif. Sampeldalam penelitian ini adalah anggota Paduan Suara Mahasiswa Solfeggio ChoirUniversitas Negeri Medan, partitur dan audio visual dari lagu Tandai Ma Au.Pengumpulan data ini dilakukan dengan metode observasi atau pengamatan,wawancara, dokumentasi dan studi kepustakaan. Penelitian ini di ambil diSekretariat Paduan Suara Mahasiswa Solfeggio Choir Universitas Negeri Medan,dan penelitian ini dilaksanakan dari bulan Oktober 2017.Hasil penelitian ini menunjukkan bahwa implementasi teknik vokal nasal padaPaduan Suara Mahasiswa Solfeggio Choir Universitas Negeri Medan harus diawalidengan pemanasan, olah vokal serta berlatih pernafasan terlebih dahulu karena haltersebut sangat penting dan berpengaruh pada saat bernyanyi agar tidak terjadicedera pada pita suara. setelah melakukan pemanasan lalu terapkanlah teknik nasaltersebut dengan menyanyikan sebuah lagu. Contoh lagu yang diambil adalah lagu2Tandai Ma Au. Hasil yang diperoleh pada saat bernyanyi menggunakan tekniknasal tersebut adalah suara yang dikeluarkan terdengar lebih jernih dan liris berbedaketika bernyanyi dengan teknik biasa.
BENTUK PENYAJIAN ANSAMBEL GONDANG SABANGUNAN PADA UPACARA PANANGKOK SARING-SARING DI DESA PATOR JANJI MATOGU KECAMATAN ULUAN KABUPATEN TOBA SAMOSIR Fenny Hannatasya Purba
Grenek: Jurnal Seni Musik Vol 7, No 2 (2018): Grenek : Jurnal Seni Musik
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/grenek.v7i2.10956

Abstract

The results showed that the presence of Gondang Sabangunan in the village PartorJanji Matogu important role in any traditional events in the village Partor Janji Matoguwhich can be seen from the function, especially in traditional events Panangkok Saringsaring to accompany tortor when dropping crates to the location of the tomb new,accompany tortor the hula when handing rudang-rudang and accompany tortor bonahasuhutan that will bring rudang-rudang into the house. Forms of presentationgondang played using ensemble gondang Sabangunan, this ensemble plays a repertoiregondang sipitu in the event panangkok Saring-saring is Gondang At first, Gondangsomba-somba, Gondang mangaliat, Gondang Pasu-pasu, Gondang sahata saoloan,Gondang hasahaton, Gondang sitiotio , Gondang Sipitu particular musical formgondang mangaliat accentuate the melody played by Bolon sarune musical instrumentsand other musical instruments taganing, ogung, hesek serves as an accompanimentmelody and tempo beats with a value thatisdifferent foreach instrument
KOMPARASI MUSIK GUBANG DAN MUSIK GONDANG PORANG DALAM IRINGAN BAPUNCAK DI KOTA TANJUNGBALAI ASAHAN Melan Sari
Grenek: Jurnal Seni Musik Vol 7, No 2 (2018): Grenek : Jurnal Seni Musik
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/grenek.v7i2.10957

Abstract

Purpose of this study is to investigate the formation of existence Gubang music, and GondangPorang music in accompaniment Bapuncak in Tanjungbalai Asahan, form music Gubang inaccompaniment Bapuncak, form Gondang Porang music in accompaniment Bapuncak, withcomparation from form Gubang music and form Gondang Porang music in accompanimentBapuncak in Kota Tanjungbalai AsahanThe theory used in this research include music theory, analisys form music theory,comparationGubang music, Gondang Porang music, and Bapuncak as base in study for get output is want.This research make in Tanjungbalai Asahan City. The population and sample is: recorded file ofGubang music and Gondang Porang music, music instructor, four Gondang Porang musicplayers, traditional self players, and sample is: recorded file of Gubang music and GondangPorang music, music instructor all at once traditional self instructor, four Gondang Porang musicplayers . The method used in this research isqualitative descriptive. Data collection techniquesused were library research, laboratory work, field observations, interviews, anddocumentation.Processing techniques and data analysis using qualitative descriptive researchtype.According to the research results,Gubang music have many fungtion from last period, howeverbecome accompaniment for entertainment at now period. Existence Gondang Porang music fromlast period until now stil like accompaniment Bapuncak. Form Gubang music is two motif m1 andm2, no have frase and sentence, because all of it is repeating rithym. Form Gondang Porangmusic is two sentence, that is sentence A with a like question frase and x like answer frase. Frommotif A have two motif, that is m1 and m2. In Sentence B found two frase that is b like questionfrase and y as answer frase, be found two motif at sentence B that is m3 and m4.
ANALISIS STRUKTUR MUSIK DAN TEKNIK BERMAIN BIOLA FOUR SEASON “WINTER” KARYA KOMPONIS ANTONIO VIVALDI Christine Simangunsong
Grenek: Jurnal Seni Musik Vol 6, No 1 (2017): Grenek : Jurnal Seni Musik
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/grenek.v6i1.10958

Abstract

This study aims to determine how the structure of music andviolin technique Four Season "Winter" by composer Antonio Vivaldi.In the discussion of this study used the theories related to researchtopics such as Antonio Vivaldi biography, analytical understanding,understanding of musical forms, musical structure and technique ofplaying the violin. The method used by the researchers in this study isdescriptive-qualitative method. The sample in this study such as thesheet music and videos of Four Season "Winter" by composer AntonioVivaldi. The techniques of data collection in this research are workinglaboratory analysis the melody of violin instrument like musicalstructure and technique of playing the violin and literature studyconducted at the Laboratory of the Department of Music Arts, Facultyof Languages and Arts, State University of Medan. From the results ofthis study can be obtained structure of music Four Season "Winter" bycomposer Antonio Vivaldi has 63 bars with 12 motifs includingoriginal motive literal replications and development, up and downsequence, bridges, enlargement of the interval, 10 phrases and is a 3-part song form complex / major played by violin playing techniques asdiverse namely legato, staccato, trill, double stops, and sforzando andusing the dynamic crescendo, mezzo forte, forte, piano, with the righthand position of mixed fingering position of the I-VII. Interpretationof the Four Seasons "Winter" tells the eerie atmosphere transitionalclimate when winter freeze with the sound of the wind through thestrains indicated cruel instrument tones on the violin.
LAGU TIAS DALAM UPACARA PERNIKAHAN ADAT SIMALUNGUN DI DESA BANGUN PURBA (STUDI KAJIAN, BENTUK PENYAJIAN, FUNGSI DAN MAKNA LAGU) Eko Putra Oktavianus
Grenek: Jurnal Seni Musik Vol 6, No 1 (2017): Grenek : Jurnal Seni Musik
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/grenek.v6i1.10959

Abstract

"Songs Tias in Simalungun traditionalwedding ceremony in the village bangun purba (Studies of studies, forms ofpresentation, function and meaning of the song)”. This study aims to find outabout the song tias of form of presentation, function and meaning of the song inthe wake of early marriage ceremonies. This study is based on a theoreticalfoundation to explain the meaning assessment form, function and meaning of thesong. This research was conducted in the village bangun purba, during thewedding ceremony Simalungun. Data collected through literature study,observation, interviews, and documentation. This research was seen at thebeginning of the event to completion, with the aim of seeing the form ofpresentation, function and meaning of the song in the traditional Simalungun. Thefunction of this song was made to entertain the "boru" who come to the party"Tondong" which was performed during traditional wedding ceremonySimalungun wherever they are, including in the village bangun purba. And at thesame time see how the lives of people in the village get up early, and some clansin the area woke up early. This song has a meaning about a boy who had changedwhen he married them. The song is sung by a singer in the show, which isaccompanied by some traditional musical instruments Simalungun
The Presentation Form of Mamözi Göndra Music In Accompanying Nias War Dance on Furai Studio of Medan AGUSTYNUS SAPUTRA SIMAMORA
Grenek: Jurnal Seni Musik Vol 6, No 1 (2017): Grenek : Jurnal Seni Musik
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/grenek.v6i1.10960

Abstract

The result of this study indicates that the presence of music mamözi göndra which isinherited by their ancestors is still extant. A way of presenting music mamözi göndradivided into three sections: preparation before the music mamözi göndra performedbefore the word fahugo used , after fahugo used musical instruments mamözi göndraplayed together in the show, the process of closing music mamözi göndra done onlywith the code of the trainer music or göndra mamözi music artists . There are five musicfunctions mamözi göndra namely : The function of entertainment, self-expression,communication, a dance, economics. Göndra mamözi musical instruments used aregöndra as a carrier tempo and pulse, faritia as the carrier beats / pulse, aramba as aguide to determine the initial knock
SENANDUNG BERTELUR KAU SINANGIN PADA MASYARAKAT MELAYU DI KOTA TANJUNGBALAI (STUDI TERHADAP BENTUK MUSIK, FUNGSI DAN MAKNA) Arrini Shabrina Anshor
Grenek: Jurnal Seni Musik Vol 6, No 1 (2017): Grenek : Jurnal Seni Musik
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/grenek.v6i1.10961

Abstract

This study aims to find out about the musical forms You Sinangin laying humming,humming to determine the function of laying You Sinangin, and to know themeaning of chanting laying You Sinangin the Malay community in Tanjungbalai.The theory used in this study includes the understanding of music, musical forms,music functions, and the theory of meaning. The method in this study using aqualitative description. Data collection techniques used were interviewsobservation and documentation are made directly to pesinandong in Tanjungbalai.The population in this study is adatyang figure amounted to 4 people consisting of3 players Gubang musical instruments, and 1 person pesinandong. Results ofresearch and interviews show that this form of music in hum laying You Sinaginhas 7 motif in the 10 phrase, namely 5 phrases antecedent (question) and 5 phrasesconsequent (answer) and there are 5 sentence is a sentence I, sentence II, sentenceIII, sentence IV, and V. sentence humming laying function as accompaniment YouSinangin ceremony, an emotional disclosure functions and entertainment functions.And the meaning tekandung in humming laying You Sinangin consists of a feelingof meaning, the meaning of the tone and meaning of the goal.

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