A Review of The Sundanese Scale Theory

This article aims to discuss Kusumadinata’s scale theory in Sundanese music which has been taught in educational institutions in West Java, Indonesia. According to Kusumadinata’s scale theory, sorog and pelog are scales derived from salendro scale in gamelan salendro performance. In my previous research, I investigated three genres of Sundanese performing arts which have existed since the Hindu era, namely goong renteng, pantun, and tarawangsa. The results indicate that the pelog scale has independently existed since the Hindu era. Then, I analyzed the phenomenon that occurs in the gamelan salendro performance, i.e., its melody (rebab and vocals) conventionally modulate into scale ‘like sorog’, occasionally into scale ‘like pelog’. In contrast, the instruments of gamelan are in the salendro scale. However, the analysis on the sorog in the previous research was not enough, so that in this paper, I will focus on the sorog. To find out the relationship between melody (vocal and rebab) and gamelan instruments, I examined the actual performances of gamelan salendro and wayang golek purwa. It became clear that the salendro scale derives four types of sorog. The findings of this study indicate that sorog has existed since the 19th century by this phenomenon, and the scale now called sorog is a scale derived from salendro.

Idris Sardi’s Influence on Musical Development and Education in Indonesia

Idris Sardi is known as a music maestro in Indonesia. This study aims to reveal the influence of Idris Sardi on the development of music and its implications in music education. This study uses a qualitative method with a narrative approach. The data were collected through observation, in-depth interviews, and documentation. The research informants were carefully selected from the family, violin students, and colleagues of Idris Sardi in Jakarta and Bogor, West Java. The data were analyzed by organizing data and creating codes, describing codes in chronological categories and themes, developing interpretations, and visualizing data. The results showed that Idris Sardi was influential in developing (1) keroncong music by varying the tempo and expanding the repertoire; (2) the violin playing techniques included unique characters such as vibrato, glissando, and octave variations; (3) ethnic and popular music were made through orchestrations and collaboration with orchestral music. The implications in music vocational education were (1) problem-based learning by creating a new keroncong style to be accepted by society; (2) the improvement capability by exploring skills to play the violin; (3) life-based-learning by raising local and popular music to be qualified while enhancing the level of society’s music appreciation. In conclusion, Idris Sardi provided a strong influence on the music development in Indonesia, and the implication could be a new strategy to improve the quality of music education.

Changes in Form and Style in Randai Performance at The Minangkabau Diaspora in Malaysia

This article reveals the changes in form and style of the Randai performance performed by the Minangkabau’s diaspora in Malaysia. The novelty of this research is the study of changes in forms and styles in Randai carried out by the Malaysian Minangkabau diaspora. The disconnection of socio-cultural communication and the long distance between Minangkabau and Peninsular Malaysia impacts the shift in forms and styles of Randai in the Minangkabau diaspora. This research was conducted qualitatively by designing research works such as pre-field studies, by collecting preliminary data based on a diffusion approach. In the field stage, the informants were selected by snowball sampling. The interview and observation instruments were designed based on the performance structure and performance procedures. Researchers conducted data analysis using the techniques recommended by Spradley, namely: (1) domain analysis, (2) taxonomic analysis, (3) componential analysis, and (4) discovering cultural themes. The study results revealed that the forms and styles were caused by mixing cultures between the diaspora and the Malaysian Malays. These changes were done so that the local community could accept Randai. In addition, Randai can be easily learned and cultivated by the Malay Malays and easily expressed by the Malaysian community and the Minangkabau diaspora as the perpetrators of Randai. These changes occur through a process of adaptation and acculturation. The implication of this research is the emergence of a new Randai model, namely Randai, which refers to local culture, both from the aspect of the story, Silat style, and music, as an identity and tradition for the Malaysian Minangkabau diaspora for the future.

Pedagogical Competency of Dance Instructors in The Training of Malay Court Dance Skills Among Upper Secondary Students at Johor National Art School

Dance pedagogy is a complex and dynamic field of competency that involves various skills and self-appearance. Therefore, dance instructors must widen the scope of their competency to strengthen and improve their level. This research aimed to identify the competency of dance instructors teaching the practical subject of Malay Court Dance based on factors including the components of pedagogy, curriculum, assessment, and professionalism. The data was collected from interviews with the instructors and was analyzed through thematic analysis. The findings indicated that the instructors’ competency level development could be mapped into three dimensions, namely orientation, agent, and competency content. It was concluded that art schools in Malaysia need to develop dance instructors’ competency in terms of (1) 21st-century learning needs, (2) vertical and horizontal knowledge sharing, (3) workshop, study tour, and competition, and (4) standardization of technological development relevant for curriculum, across knowledge, practical, and feeling domains.

The Role of Dance Education for Personality Development of Upper Primary School Students

This paper studies the history of dance education in Manipur and social value, psychomotor domain, and creative development of students at the school curriculum in Manipur (India). Dance education plays an essential role in molding a person into a perfect human being with good health and behaviour in society. It also furnishes the essential elements humans need to live in our society other than imparting knowledge and skills. In overall development, Manipuri dance plays the most crucial role in the school curriculum. The descriptive research method used in this study revealed the importance and the role of dance education for the four upper primary school students, i.e., class VI to class VIII of Imphal West District and Imphal East District, where dance class had been adopted as one of the subjects in these schools. The 915 students have been taken from the following four schools: Kendriya Vidyalaya-Lamphelpat, Tolchou Ibeton Memorial Academy-Hiyangthang, Rajkumari Sanatombi Devi Vidyalaya-Haotal Pangei, and SL Arena of Learning-Khurai Khaidem Leikai. The researcher collected 70% of students’ respondents, of which 287 are males and 343 are females out of 630 students. Finally, the investigator has found that the social value of students is significantly improving due to dance education. Dance education helped in realizing one’s own potential for self-enhancement, confidence, problem-solving, and creativity among the students. Moreover, it also developed and enhanced the psychomotor domain and the students’ creativity to a certain extent. Thus, dance education should be made compulsory as a curriculum subject at all levels of schools.

The Identity Construction Through Music Notation of The Indigenous Style of Gitar Tunggal Lampung Pesisir

This study aims to reveal the meaning of music notation writing of gitar tunggal Lampung Pesisir written by Imam Rozali. Imam is a gitar tunggal player who wrote his technique and playing style in notation symbols. This article uses a case study research design with pattern matching techniques (Yin, 2018). Data were collected through observation, interviews, document analysis, and audio recordings. A series of tests were carried out on the notation and other supporting information to improve the validity of the data. Laboratory analysis was carried out to describe signs, interpret symbols, and compare Western musical notation. As a result, (1) the music notation written by Imam Rozali is a musical expression used as a medium for remembering; (2) the writing of Imam Rozali’s musical notation constructs his musical identity as a Gitar tunggal Lampung Pesisir player; (3) Imam Rozali’s music notation symbolizes an indigenous style which has its concept of gitar tunggal music; (4) Imam Rozali tries to add value to his musical identity among gitar tunggal players because the notation is a symbol of intellectuality.

The Image of Woman in the Sintren and Kuda Kepang Arts: Gender Reality and Aesthetic Exploration

The image of women that is actualized through the construction of gender roles, positions, and adaptation processes in artistic expression through Sintren and Kuda Kepang performances is very different. In this regard, the research aims to: (1) explain the forms of art performances of Sintren and Kuda Kepang; and (2) explain the image of women in the art performances of Sintren and Kuda Kepang in the context of gender reality and aesthetic exploration. The research was conducted on the art of Sintren Ujung Gede in Pemalang Regency and Kuda Kepang Turonggoseto in Semarang Regency. The research data were collected using the techniques of (1) observation, (2) interviews, and (3) document studies. The validity of the research data was carried out using the confirmability technique. The study used an interactive model analysis procedure, which was carried out with the stages of data collection, data reduction, data classification, and drawing conclusions. The results show that: (1) Sintren and Kuda Kepang arts are forms of traditional folk-art performances in which there is a scene of trance. This art is usually performed on stage or open arena by involving women as players; (2) The presence of women in the Sintren performances is a requirement that traditionally must be fulfilled until now. On the other hand, in the Kuda Kepang performances, the presence of women is a new phenomenon that provides opportunities and freedom for women to express themselves through dance. In the Sintren performance, the position of women becomes the center, subject, and object during the performance process. As a result, changes in the function of arts often result in the exploitation of Sintren dancers. On the other hand, in the Kuda Kepang art, the involvement of women with all their adaptations provides a new space for resistance to the existing gender stereotypes.

Musical Facts and Sustainability of Trunthung Music in Eco-cultural Studies

This study aims to review the sustainability of Trunthung Music that shapes an ecosystem within the context of eco-culture. The study belongs to the nature of qualitative research with an interdisciplinary approach and several ecological concepts that reflect the culture of the peasant community over the slope of Merbabu Mountain in Magelang. The study itself is conducted in Warangan Hamlet and Gejayan Hamlet, the Regency of Magelang. The data are gathered through observation, documentation, and in-depth interviews with the informants related to the Trunthung Music. Then, the source triangulation technique is implemented through the test of trustworthiness by inspecting the data on the development of Trunthung Music toward the artists in Warangan Hamlet and the members of Lima Gunung Community. The data that have been attained from various sources are described, categorized, and eventually analyzed so that the ecosystem of Trunthung Music that has been on the progress can be identified. The results of the study show that Trunthung Music has been a performance that combines sonoric, kinesthetic, and visual dimensions, including their association with the natural condition and the peasant life over the Slope of Merbabu. The dialectics of Trunthung Music and the components of its ecosystem are in interaction with one another, resulting in the sustainability of the music until the present days. Then, the components of such ecosystem are the local agents who create the Trunthung Music and their interaction with the art community, be it with the Lima Gunung Community in the context of the Regency of Magelang and with the artists living outside the Regency of Magelang. In addition, the presence of Trunthung Music is associated with the traditional rites in the Warangan Hamlet, such as Nyadran Kali and Tapak Jaran Sembrani. All of these activities have good correlations among music, environment, and culture within the context of eco-culture.

Ryuji Kunimatsu Guitar Arrangement on the Oblivion by Astor Piazzolla: A Critical Analysis

This study examined the characteristics of Kunimatsu’s guitar arrangements in Astor Piazzolla’s Oblivion by comparing aspects of musical form, melody, and harmony. As with other arrangements’ performances, the primary motif of Astor Piazzola’sOblivion melodic theme in Kunimatsu guitar arrangement has always been played differently from the original version. This performance phenomenon could responsibly risk blurring the identification of structural boundaries within its musical form. The purpose of this study is to prove the basic construction of Oblivion melody, including its form structure and rhythmic characteristics, by comparing Kunimatsu’s arrangements against the composer’s original score. This study uses musicological research methods. The approaches applied in studying this work are analytical, theoretical, and comparative. This study compares the two data to reveal the musical forms and the differences in the primary motive rhythmic characteristics. The results of this study are findings of the Oblivion musical forms in both publications and the differences in primary motives rhythmic patterns in both sources. The difference in musical form is impressive, possibly caused by the insertion of auxiliary members. As a result, Kunamitsu arrangement includes using the two-part song form, originally a three-part song form. With the revelation of the original melodic structure that is clear from the results of this study, the musicians who will present the Oblivion will at least have the essential reference in their interpretation. This research contributes to expanding studies in classical guitar performance and musical forms and new approaches in textual musicological analysis that are still infrequent.

Production of Aesthetic Tastes and Creativity Education of Indonesian Glass Painting Artists

This study aims to find the repertoire of aesthetic taste as a creative act and its relation to symbolic power in the arena of Indonesian cultural production of glass painting. The study used a qualitative approach with a phenomenological design. Data collection used in-depth interviews, participant observation, individual life’s history, and document examination. Data analysis used interpretive phenomenological analysis. The study finds five aesthetic taste repertoires that include: (1) the aesthetic taste of the palace which is characterized by the symbolic decorative visualization of calligraphy pictographs of petarekatan with wadasan and mega mendung ornaments; (2) the taste of strengthening cultural identity is marked by the symbolic decorative visualization of a traditional sourcebook for puppet shadow objects with wadasan and mega mendung ornaments; (3) the taste of traditional renewal is characterized by liberating expressive decorative visualizations; (4) the taste of cultural revitalization is characterized by decorative visualization of the superiority of tradition which is involute; and (5) the taste of marginalized community is characterized by the simplicity of traditional object visualizations. The five aesthetic tastes carry a decorative expression style with an interpretation of tradition based on the cultural capital of the artists. The production of aesthetic taste cannot fully be used to classify the social class structure of appreciators but is related to the identity of the cultural capital they have. The production of aesthetic taste is a creative education model that responds to the doxa of symbolic power in the form of orthodox or heterodox, resulting in defensive, subversive, defensive-subversive synthesis, and pseudo-subversive strategies, which are fought for legitimacy as symbolic power.