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Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts)
Published by Institut Seni Indonesia Yogyakarta
ISSN : -     EISSN : 23386770     DOI : https://doi.org/10.24821/resital
Core Subject : Humanities, Art,
Arts Humanities
Resital : Jurnal Seni Pertunjukan merupakan jurnal ilmiah berkala yang ditujukan untuk mempublikasikan karya ilmiah hasil penelitian, pengembangan, dan studi pustaka di bidang seni pertunjukan. Jurnal Resital pertama kali terbit bulan Juni 2005 sebagai perubahan nama dari Jurnal IDEA yang terbit pertama kali tahun 1999.
Arjuna Subject : -
Articles 254 Documents
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Interpretasi Musik Barok Pada Lagu The Trumpet Shall Shound Karya Handel Taryadi Taryadi; Bakhrudin Latif
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 23, No 1 (2022): April 2022
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v23i1.6758

Abstract

The reason behind the research of Baroque era music interpretation analysis in The Trumpet Shall Sound by Handel is there are many trumpet players and music students who do not have deep understanding in interpreting the baroque era music correctly. The purpose of this research is to find out the music form and music structure from The Trumpet Shall Sound Song by Handel, also to find out the interpretation of trumpet music instrument in The Trumpet Shall Sound Song by Handel. The method used in this research is qualitative method research since there are no use of numbers as its data source. The research object is focused on the interpretation of the song itself by applying some theories i.e., music form, music structure, the rules of music interpretation of baroque era and the music expression of Baroque era. The data collection was done by observation, interview, and documentation. The analysis is from the interpretation which is analyzed through music interpretation rules of Baroque era which is expected to have an outcome by playing The Trumpet Shall Sound song by Handel with correct music interpretation of Baroque era.
Estetika Tri Mandala Dalam Komposisi Baru Pasupati: Strategi Pengembangan Wacana Keindahan dalam Karawitan I Ketut Ketut Ardana; Maria Goretti Indah Della Consentta
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 23, No 1 (2022): April 2022
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v23i1.6892

Abstract

Aesthetics has an important role in determining the weight of karawitan. Aesthetics can also justify the creation of a composition. Naturally, if in the assessment of composition is always influenced by aesthetic factors to determine the high and low value of karawitan. However, aesthetic perspective also needs to be a reference to show the renewal of a karawitan. It's a form of creativity in art. One of the conceptions that can give aesthetic harmony in karawitan composition is the concept of tri mandala. Tri mandala is a three-dimensional philosophical concept of harmony that is usually a reference in the field of architecture to build sacred places, residences, and even traditional markets in Bali. Through the concept of Tri mandala, a karawitan harmony system that was originally oriented to the second dimension became developed into the third dimension. Therefore, the topic of tri mandala aesthetics in pasupati composition needs to be researched so that it can result in a new aesthetic point of view in karawitan. This topic is a type of qualitative research that is studied with several stages, namely: observation, consoralization, composite realization. The results showed that tri mandala renews the aesthetic value of a karawitan composition. The renewal is represented in a system of harmony, structure, and meaning. The connection of the three with the tri mandala is the third dimension. Everything refers to the power of three, the harmony of three, part three, and the meaning of three in the symbolization of the three realms namely, bhur, bwah, and swah.
Pengaruh Pelatihan Penilaian Praktik Seni Budaya Berbasis Pergelaran bagi Guru Seni Budaya SMK di Salatiga Rosalia Meita Widhiardanti; Ade Iriani; Wasito Hadi
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 23, No 1 (2022): April 2022
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v23i1.6200

Abstract

Art education is one of the major determinants in improving the skills of 21st century students. Various assessment in art education is held to create active and creative students, one of them is the performance-based arts and culture assessment. The limited ability of teachers and the lack of learning resources for teachers so that the implementation in several schools has not been implemented and is not running effectively and efficiently, so teachers need reinforcement in the form of training. This study aims to see the effect of performance-based cultural arts practice assessments training for arts and culture teachers. The training was carried out in a limited with a small sample of 5 art and culture teachers from SMKN 1, SMKN 2, SMKN 3, SMK Bhakti Nusantara Salatiga.  The research used quantitative research with a pre-experimental of One Group Pretest Posttest Design with data collection techniques in the form of interviews, documentation studies and tests. Interviews and documentation studies were conducted to analyze the needs of the training carried out. The test used to measure the teacher's understanding and knowledge of material by giving a pretest and posttest. The data analysis technique was processed by quantitative descriptive techniques by conducting the Normality Test and the Paired Samples T-Test. The results showed that the value of sig. (2-tailed) is 0.012 (< 0.050), meaning that H0 is rejected and Ha is accepted. Therefore, it can be said that there is an increase in competence between before and after the training is carried out.
Metode Pembelajaran Suling Laras Slendro Gaya Yogyakarta Marsudi Marsudi Marsudi
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 23, No 1 (2022): April 2022
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v23i1.6112

Abstract

This research is motivated by the fact that many flute players, artists, musical practitioners and students do not recognize the characteristics of the Yogyakarta style flute, so there is a tendency to abandon it. On the other hand, the Yogyakarta style flute instrument has specifications that lead to special characteristics. This study aims to provide an understanding of the Yogyakarta style flute as well as produce teaching materials for the Yogyakarta style flute as a guide for learning. This study uses two methods, namely data collection and analysis and design methods. Yogyakarta Style flute learning techniques include: knowledge of the flute, basic techniques, intermediate techniques, and advanced techniques. Knowledge of the flute includes the characteristics of the shape, blow hole, tone hole, closing tone, cengkok seleh, and the application of cengkok seleh flute Yogyakarta style. Basic techniques include mastery of blowing and closing types in finding the tone of both the slendro  barrels. Intermediate techniques include basic mastery of crooked selh, slendro barrel and pelog barrel. Advanced techniques include the application of seleh bends on the gending and lagon.
GITA SEWANA: Strategi Penciptaan Musik pada Masa Pandemi I Nyoman Cau Arsana
Resital: Jurnal Seni Pertunjukan Vol 23, No 2 (2022): Agustus 2022
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v23i2.7097

Abstract

ABSTRACT On December 2, 2020, the Department of Ethnomusicology, Faculty of Performing Arts, ISI Yogyakarta, showcased faculty works entitled "Knitting the Tones of Nusantara" (Merajut Nada Nusantara). The event was broadcasted online via YouTube. The students presented five works during the proceedings, one of which was Gita Sewana. This paper aims to elaborate on Gita Sewana as a case study related to the process of artistic creativity during the pandemic. Two subjects are explored in this research: the methods used for Gita Sewana and their application to creative work in general. The research data is taken from the author's experience during the process of Gita Sewana's creation and the video documentation of the event. The results of this study are presented through analytical and descriptive methodologies. These results demonstrate that the method used in the composition of Gita Sewana is based on the Panca Sthiti Ngawi Sani concept. The concept was applied to create Gita Sewana and adapted to the COVID-19 pandemic, referring to planning and performance activities. This work provides a model for music creation strategy during the pandemic.ABSTRAK Jurusan Etnomusikologi Fakultas Seni Pertunjukan ISI Yogyakarta pada penghujung tahun 2020, tepatnya tanggal 2 Desember, melangsungkan gelar karya dosen bertajuk “Merajut Nada Nusantara”. Kegiatan tersebut disiarkan secara daring melalui platform youtube. Ada lima karya yang ditampilkan dalam acara tersebut, salah satunya adalah Gita Sewana. Tulisan ini bertujuan untuk mengungkap karya Gita Sewana sebagai studi kasus berkaitan proses kreativitas seni pada masa pandemi. Ada dua hal yang digali dalam penelitian yaitu metode yang digunakan dalam penciptaan Gita Sewana dan aplikasinya dalam proses penciptaan karya. Data penelitian bersumber dari pengalaman pada saat proses karya Gita Sewana dan dokumentasi pertunjukan. Hasil penelitian disajikan dengan metode deskriptif analitis. Hasil penelitian menunjukkan bahwa metode yang digunakan dalam proses karya Gita Sewana adalah metode Panca Sthiti Ngawi Sani. Tahap perencanaan sampai pada tahap pertunjukan dalam metode tersebut, diaplikasikan dalam proses penciptaan karya Gita Sewana dengan beradaptasi pada situasi pandemi Covid-19, sebagai strategi penciptaan musik pada masa pandemi.
Lagu Salam Sahabat Anak Sebagai Inspirasi Penciptaan Karya Komposisi Tari Daruni Daruni
Resital: Jurnal Seni Pertunjukan Vol 23, No 2 (2022): Agustus 2022
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v23i2.7606

Abstract

ABSTRACT. The series of beautiful, rhythmic and comical tones leave an impression of joy for the listeners. Once a musical work was auditive stimulated by Studio Omah Cangkem's entitled Salam Sahabat Anak, it prompted the birth of a dance work with the same title as the accompanying music. Following the title and the song's lyrics, the dance tells about the importance of making friends with children. The dance method of Jacqueline Smith was chosen to realize this dance design with the steps of dance design starting with listening and analyzing the structure of the song, which was identified as a varied composition of instrumental and vocals. The pattern of the musical framework and vocal variations became the basis for the selection of motifs and movement patterns and their variations. The concept of Creative Dance is also an option in this dance. The design aims to realize the Sahabat Anak dance, this pure dance type, to explore simple motion motifs according to the musical pattern. It is expected this simple dance can attract children's talents and encourage children to have a new perspective in which dancing is everyone's right; dancing is to set the heart; dance is for all; dance is an element of life; dancing makes life more beautiful, and dance makes life stronger to face various situations.ABSTRAK. Rangkaian nada indah, ritmik dan komikal meninggalkan kesan suka cita bagi pendengarnya. Dirangsang secara auditif dari karya musik Studio Omah Cangkem yang berjudul Salam Sahabat Anak, mendorong lahirnya karya tari yang diberi judul sama dengan musik pengiringanya. Sesuai dengan judul dan syair lagu yang terkandung di dalamnya maka tarian ini ini menceritakan tentang pentingnya bersahabat bagi anak-anak. Metode perancangan dimulai dengan mendengarkan, menganalisis struktur lagunya yang diidentifikasi sebagai sebuah komposisi bervariasi instrumental dan vokal. Pola kerangka musik dan variasi vocal menjadi landasan pemilihan motif dan pola gerak beserta variasinya serta konsep tari kreatif juga menjadi pilihan dalam perancangan karya ini. Perwujudan karya tari Sahabat Anak, bertipe tari murni dengan mengeksplor motif gerak sederhana sesuai pola musiknya. Harapan tarian sederhana ini dapat mengundang minat bakat anak dan mendorong anak memiliki citra baru bahwa menari itu hak siapa saja, menari itu menata hati, dance for all, dance as an element of life, menari itu membuat hidup lebih indah, membuat hidup lebih kuat menghadapi aneka situasi.
Membangun Nasionalisme dan Patriotisme melalui Penciptaan Lagu Anak Ayub Prasetiyo; Fahrizal Adi Nugraha
Resital: Jurnal Seni Pertunjukan Vol 23, No 2 (2022): Agustus 2022
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v23i2.4911

Abstract

ABSTRACT Building Nationalism and Patriotism Through the Creation of Children’s Songs. The tumult of political problems in the past few years has brought the issue of racial discrimination and the rise of horizontal conflicts in society. It can reflect how the state must reformulate policies fostering the four pillars of national life through more communicative media such as music. Music can give us deep experiences which cannot be expressed verbally. Songwriting plays an essential role in teaching and maintaining the values of nationalism and patriotism for children. The method used in this study is a qualitative research method through an experiment in creating songwriting works. In the description, it will use the point of view of autoethnography, which tries to describe the process of this research in narrating the creative efforts of making children's songs which are very subjective from the musical experience of researchers. The results of the study are expected to be able to provide awareness about music and defend the country through appreciation of song lyrics and music itself.ABSTRAK Riuh rendah masalah politik beberapa tahun ke belakang yang membawa isu sara, dan maraknya konflik horizontal di masyarakat dapat menjadi cermin bagaimana negara harus merumuskan ulang kebijakan terkait pembinaan empat pillar kehidupan berbangsa melalui media yang lebih komunikatif seperti musik. Lewat musik kita mendapat pengalaman yang begitu mendalam dan tak bisa diungkapkan secara verbal. Penciptaan lagu menjadi penting perannya guna mengajarkan dan memelihara nilai-nilai nasionalisme dan patriotisme bagi anak-anak. Metode yang digunakan dalam penelitian ini adalah metode penelitian kualitatif melalui sebuah eksprimentasi penciptaan karya cipta lagu. Dalam penjabarannya akan menggunakan sudut pandang autoethnography yang berusaha menguraikan proses penelitian ini dalam menarasikan upaya kreatif pembuatan lagu anak yang sangat subjektif dari musical experience peneliti. Hasil penelitian diharapkan mampu memberikan kesadaran tentang musik dan bela negara melalui penghayatan lirik lagu dan musik itu sendiri.
Peran Emosi dalam Interpretasi Musikal Musisi untuk Meningkatkan Kinerja Estetis: Studi Kasus Pada Pemain Cello dan Gitar Asep Hidayat Wirayudha
Resital: Jurnal Seni Pertunjukan Vol 23, No 2 (2022): Agustus 2022
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v23i2.5075

Abstract

ABSTRACT The complex task in musical performance sometimes makes musicians get an unsatisfactory evaluation. On the other hand, the structural approach to music itself, which is believed to be a fundamental tool for musical interpretation, has not clear yet how its capacities could become the basis for translating written notes into musical sounds. Moreover, music is experienced not exclusively as a mere structure and sound event but also participated as a subjective event. This study, therefore, explores the role of musicians' personal experiences, particularly emotions, in shaping musical interpretation. It uses a qualitative method with a comparative approach. The approach is used to investigate how emotion can mediate the transformation of written notes into musical sounds. A comparison of two cases of interpretation on the cellist and the guitar player is held to explain if there are differences in the interpretation process of the two groups of musicians. The result of this study shows that, firstly, emotional experience gained in the socialization of everyday emotions plays an essential role in understanding music. Secondly, after musicians can apprehend the feeling in the musical structure, they can manifest them into an acoustic code that has an iconic relationship with the emotional content of the musical form. And thirdly, emotional experience posts as the basis for translating structural information into meaningful sound.ABSTRAK Rumitnya tugas atau peran pemain musik membuat musisi terkadang mendapat evaluasi yang kurang memuaskan dari pendengar. Di sisi lain, pendekatan teoritis yang diyakini dapat menjadi alat bantu untuk menginterpretasi musik belum diketahui dengan jelas bagaimana musisi dapat menjadi basis dalam menerjemahkan nada-nada tertulis menjadi bunyi musikal. Padahal, musik dialami tidak hanya ekslusif sebagai peristiwa struktural dan bunyi semata, namun juga dialami sebagai peristiwa subjektif. Oleh sebab itu, penelitian ini mengeksplorasi peran pengalaman emosi subjektif pemain dalam membentuk interpretasi musikal. Penelitian ini menggunakan metode kualitatif dengan pendekatan komparatif. Pendekatan ini digunakan untuk mempelajari bagaimana emosi dapat menjadi perantara musisi dalam mentransformasi not tertulis menjadi bunyi musikal. Komparasi dua kasus interpretasi pada pemain cello dan pemain gitar dilakukan dalam rangka melihat apakah ada kemiripan dan perbedaan dalam proses menginterpretasi pada dua kelompok musisi intrumen yang berbeda. Hasilnya ditemukan bahwa pertama, pengalaman emosi yang diperoleh dalam sosialisasi emosi sehari-hari, berperan penting dalam memahami musik yang muatannya juga sarat dengan emosi. Kedua, setelah musisi dapat menangkap emosi yang terkandung dalam struktur musikal, musisi dapat merealisasikannya menjadi kode akustik yang memiliki relasi ikonikal dengan muatan emosi struktur musikal. Ketiga, pengalaman emosi menjadi basis dalam menterjemahkan informasi struktual menjadi bunyi yang bermakna.
Seni Pertunjukan dan Kreativitas Kelompok Musik Setabuhan Yogyakarta Indonesia Irfanda Rizki Harmono Sejati; Tejo Bagus Sunaryo; Sunarto Sunarto
Resital: Jurnal Seni Pertunjukan Vol 23, No 2 (2022): Agustus 2022
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v23i2.7083

Abstract

ABSTRACT Setabuhan is a musical group consisting of three people who have different musical concepts from the others. The form of Setabuhan group music is rhythmic or percussion music in which two people are percussionists, and the other plays the exploration of vocal sound. The musical instruments used by Setabuhan are drums, percussion and vocal music using digital effects. The form of music used by this Setabuhan music group is not commonly used in structural forms of musical compositions because it does not use melodic musical instruments, and the vocal music does not have lyrics. The form of the Setabuhan group performance is a collaboration of rhythmic music with the arts of Pencak Silat, or martial arts. The rhythm and tempo of the beats tend to be loud with a fast rhythmic game. This group becomes very interesting and has particular characteristics because not many musical groups have the same concept as Setabuhan . The Setabuhan music group is not well known in Indonesia but has performed many performances in various other countries. The focus of the research on the Setabuhan music group is: 1) The form of Setabuhan music performances; and 2) The creativity of the Setabuhan music group. The research method used in this research is qualitative with descriptive exposure. The research subjects were musicians of the Setabuhan music group in Yogyakarta. Data collection techniques were observation, interviews, documentation, and data analysis. The results show that the form and creativity of the Setabuhan music group lie in the rhythmic drum and percussion music playing, which is filled with exploration of vocal sounds with musical effects and collaboration with the art of Pencak Silat. The conclusion of this research is the form and creativity process of the Setabuhan music group, which is very interesting and has the characteristics of its work and form of performance.ABSTRAK Setabuhan merupakan kelompok musik yang terdiri dari tiga orang yang mempunyai konsep musik yang berbeda dari yang lain. Bentuk musik kelompok Setabuhan adalah musik ritmis atau disebut dengan musik perkusi. Dua orang sebagai pemain perkusi dan satu orang memainkan eksplorasi bunyi vokal. Alat musik yang digunakan Setabuhan menggunakan drum, perkusi dan satu musik vokal yang menggunakan efek digital. Bentuk musik yang digunakan kelompok musik Setabuhan ini tidak lazim digunakan pada bentuk struktural komposisi musik pada umunya karena tidak menggunakan alat musik musik melodis dan bentuk musik vokal nya juga tidak berlirik. Bentuk pertunjukan kelompok Setabuhan adalah kolaborasi musik ritmis dengan seni pencak silat atau bela diri. Irama dan tempo musik Setabuhan cenderung keras dengan permainan ritmis yang cepat. Kelompok ini menjadi sangat menarik dan mempunyai ciri khas karena belum banyak kelompok musik yang mempunyai konsep yang sama dengan Setabuhan. Kelompok musik Setabuhan memang belum begitu dikenal di Indonesia tetapi sudah banyak melakukan pertunjukan di berbagai negara lain. Fokus dari penelitian pada kelompok musik Setabuhan adalah: 1) Bentuk pertunjukan musik Setabuhan; dan 2) Kreativitas kelompok musik Setabuhan. Metode penelitian yang digunakan dalam penelitian ini adalah kualitatif dengan paparan secara deskriptif. Subjek penelitian adalah musisi kelompok musik Setabuhan di Yogyakarta. Teknik pengumpulan data dengan observasi, wawancara, dokumentasi, dan analisis data. Hasil penelitian menunjukan bahwa bentuk dan kreativitas yang dilakukan kelompok musik Setabuhan terletak pada permainan musik ritmis drum dan perkusi yang di isi oleh eksplorasi bunyi vokal yang diberi efek musik dan berkolaborasi dengan seni pencak silat. Kesimpulan dari penelitian ini adalah bentuk dan proses kreativitas kelompok musik Setabuhan yang sangat menarik dan mempunyai ciri khas karya dan bentuk pertunjukannya.
Saru Pakareman: Refleksi Pengalaman Diri sebagai Practice-led Research Rizky Fauzy Ananda; Helena Evelin Limbong; Hery Budiawan
Resital: Jurnal Seni Pertunjukan Vol 23, No 2 (2022): Agustus 2022
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v23i2.7328

Abstract

ABSTRACT This research on the art creation of Saru Pakareman's work aims to find the importance of repetition in both musical and extra-musical. This work is a process of creating musical compositions that depart from the reflection of the researcher's self-experience.  This art creation research activity is based on musical and extra-musical experiences in the researcher's life that have an influence on the researcher's music writing style or language. These experiences are mostly found by researchers from everyday life from childhood in the realm of family (social) phenomena where the influence of cultural teachings brought by mothers plays a major role in the process of self-introduction and the researcher's musical style. The art creation research methodology used is Practice-led Research artistic research which is also integrated with ethnographic and phenomenological approaches. The stages carried out a) the collection of data on phenomena, minimalist music, repetitions, Sundanese, and drum patterns, b) deepening of art creation: Repetition, Art creation Internship, Laboratory, and Curation. The results of this art creation research are in the form of program music works based on family socio-cultural phenomena and repetitions with simple development, interpretation of laras saléndro padantara into the whole tone scale in Western music, as well as the transition of traditional musical instruments kendang, karawitan degung laras madenda, and karawitan jaipong into the form of a string ensemble presentation. The results of such art creation research prove that the importance of repetition in music as well as in the context of life. Without repetitions in music a piece will not sound musical, while in the context of life repetition is something that always exists in everyday life such as worship activities and life patterns, in the context of education repetition is the easiest and most basic way of learning to learn and recall about understanding something. Reflection on life-experience through Practice-led Research is proven to be an idea of art creation research and is able to bridge the gap between subjectivity and objectivity in scientific writing.ABSTRAK Penelitian penciptaan karya Saru Pakareman ini bertujuan untuk menemukan arti pending repetisi baik dalam musikal maupun ekstra-musikal. Karya ini merupakan proses penciptaan komposisi musik yang berangkat dari refleksi pengalaman diri penulis. Kegiatan penelitian penciptaan ini didasari oleh pengalaman musikal dan ekstra-musikal dalam hidup penulis yang memiliki pengaruh terhadap gaya atau bahasa penulisan musik penulis. Pengalaman pengalaman tersebut sebagian besar didapati penulis dari kehidupan sehari-hari sedari kecil dalam ranah fenomena (sosial) keluarga di mana pengaruh ajaran kebudayaan yang dibawa oleh ibu berperan besar dalam proses pengenalan diri dan gaya musik penulis. Metodologi penelitian penciptaan yang digunakan adalah penelitian artistik Practice-led Research yang juga diintegrasikan dengan pendekatan etnografi dan fenomenologi. Tahapan yang dilakukan: a) Pengumpulan data mengenai fenomena, musik minimalis, repetisi, Sunda, dan pola kendang; b) Pendalaman penciptaan: repetisi, magang penciptaan, laboratorium, dan kurasi. Hasil penelitian penciptaan ini berupa karya musik program yang didasari oleh fenomena sosial budaya keluarga dan repetisi dengan pengembangan sederhana, penginterpretasian laras saléndro padantara ke dalam whole tone scale dalam musik barat, serta peralihan wahana instrumen musik tradisional kendang, karawitan degung laras madenda, dan karawitan jaipong ke dalam bentuk sajian ansambel gesek. Hasil dari penelitian penciptaan tersebut membuktikan bahwa pentingnya repetisi dalam musik maupun dalam konteks kehidupan. Tanpa adanya repetisi dalam musik suatu karya tidak akan terdengar musikal, sedangkan dalam konteks kehidupan repetisi adalah hal yang selalu ada dalam keseharian seperti kegiatan peribadatan maupun pola hidup, dalam konteks Pendidikan repetisi merupakan cara belajar termudah dan paling dasar untuk mempelajari dan mengingat kembali tentang pemahaman sesuatu. Refleksi atas pengalaman diri lewat Practice-led Research terbukti dapat dijadikan sebuah ide penelitian penciptaan dan mampu menjembatani antara subjektifitas dan objektifitas dalam penulisan ilmiah.

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