Teknik Permainan Beatbox Flute Dalam Box Karya Christopher Kuhns

The composition of solo flute created by Christopher Kuhns entitled ‘BOX’ is interesting because it uses beatbox tecnique in playing the flute. beatbox technique in flute is not a new technique for flute, Greg Pattillo is one of the flutist has introduced this technique in 2009. This research aims to describe the beatbox flute technique used in Box coposition and how to produce beatbox technique through articulation and tonguing in flute. The method used by researcher is a qualitative descriptive research methode with a analysis approach. The data obtained though literature studies, music score of Box, collecting audio-visual documentation in the form of performing Box composition through the internet and interview with Christopher Kuhns, Greg Pattillo, and Willem Carolus Cristopherson Tamnge. The result of this research show that the flute not only can produce melodic sounds, but also can produce percussive sounds with many sound colors. Beatbox technique was imitating percussion sound such as; bass drum, hi-hat, and snare. In Box Composition, there are seven beatbox articulation techniques, such as classic kick, closed k hi-hat, closed t hi-hat, meshed snare, open t hi-hat, shaker, and classic inward snare. The flute articulation techniques are accent, legato, staccato, and slur, also tonguing techniques used in Box composition are single tonguing and double tonguing. The application of articulation and tonguing influence each other in beatbox flute palying to produce clear melody and rhythm.

Stimulasi Ekspresi Melalui Teknik Reinterpretasi dalam Pertunjukan Musik Seni

The purpose of this study is to proved that musik reinterpretation is the most important aspect for both musikians and audiences in enjoying art musik. This is because in recent years there has been a declined in album sales and the number of audience for performing arts musik. So that the efforts of musikians to reinterpret various art musik repertoires by presenting new perspectives and impressions which in turn are expected to increased interest in art musik. The concept of emotion from Mehrabian-Russell in Bakker (1977) is used to understand the mechanism of emotional responses experienced by the audience after being treated by the modification of musikal reinterpretation. Then measurements were designed based on Westbrook & Reilly's theory of consumer satisfaction in Atila and Fisun Yüksel (2008) to identify the emotional responses which is the main factor in audiences satisfaction after listening to the repertoire being played. Mixed methods were used through a case study approach and a one-group experimental design with post-treatment measurements (One-group posttest-only design). Musikians recorded Allemande from Suite No. 6 for Johann Sebastian Bach's cello through the first video in the original style and in the second video, interpreting it in a romantic sense. Some of the musikal elements manipulated were tempo, dynamics, timbre and musikians' gestures. After the audience watched the two videos, they filled out a questionnaire to find out the emotional responses such as 'happy', 'joyful', 'sad', and 'bored'. The results showed that 56.4% did not experience pleasure and excitement when watching the first video. Then 73.8% of viewers experienced the emotions of 'fun' and 'joy' when watching the second video. The conclusion shows that reinterpretation of a repertoire is important because it can bring new perspectives and impressions to attract attention and give satisfaction to the audience.

Tembang Anak Jawa Sebagai Media Pembelajaran Membaca

Tembang Anak Jawa Sebagai Media Pembelajaran Membaca di TK Pertiwi III Sinduadi Mlati Sleman di Masa Pandemi. Alasan dilakukan penelitian ini adalah kemampuan membaca anak Indonesia di tingkat dunia rendah. Hal ini mengindikasikan cita-cita mewujudkan generasi bangsa yang dapat bersaing secara global masih jauh dari kenyataan. Penulis ingin membantu memecahkan permasalahan tersebut dengan mengoptimalkan pembelajaran membaca di jenjang pendidikan Taman Kanak-kanak dengan alasan masa tersebut adalah masa usia emas mengoptimalkan kemampuan manusia, termasuk di dalamnya kemampuan membaca. Peneliti akan membuat model pembelajaran membaca anak usia dini berbasis kearifan lokal Jawa, menggunakan tembang dolanan anak.Metode penelitian pengembangan (merancang model, menguji, dan melaporkan hasilnya) digunakan dalam penelitian ini. Rancangan model pembelajaran menggunakan tembang cara menghafal huruf, cara mengingat bentuk huruf, cara membaca huruf hidup, cara belajar mengeja dan pengayaan direkam dalam bentuk video dikirimkan ke orang tua siswa untuk dipelajari kemudian diajarkan kepada anaknya. Selain itu orang tua diminta menjawab kuesioner tentang pelaksanaan pembelajaran tersebut dan video juga diungggah dalam kanal youtube untuk mendapatkan tanggapan masyarakat. Kuesioner digunakan untuk mendapatkan tanggapan orang tua siswa sedangkan tanggapan masyarakat disampaikan melalui fasilitas yang disediakan youtube..Hasilnya model pembelajaran membaca berbasis tembang anak untuk anak usia dini di masa pandemi mempunyai kekuatan dan kelemahan. Kekuatannya model dapat mendorong belajar membaca, suasana belajar menyenangkan; sedangkan kekurangannya pembelajaran belum optimal karena orang tua bekerja dan tidak semua dari mereka menguasai tembang anak serta bahasa pengantar model menggunakan bahasa campuran. Kelemahan tersebut dapat diatasi dengan pembelajaran tatap muka dan mengganti bahasa pengantarnya bahasa Jawa semuanya.

Inovasi dan Pembauran Genre dalam Pertunjukan Keroncong Wayang Gendut

This paper aims to discuss the forms of design and genre-mixing carried out by the Keroncong Wayang Gendut -Congwayndut-group in Surakarta, which tries to offer a state of wayang performance with a more interactive packaging. The universal evolution approach uses the analytical tool in this paper to examine the new elements offered by Congwayndut as a form of innovation in the puppet show. The research method used is qualitative with a descriptive model. The conceptual approach and research methods found that the creation and genre-mixing carried out by Congwayndut were implemented in music, stories, and performance forms. The use of keroncong's music with combos and contemporary bands is the main illustration in the show. They are still based on Ramayana and Mahabharata's epics but actualized in current phenomena in society. Congwayndut's innovative form of performance is packaged in interactive language and builds closeness to the audience. It intended so that the messages and values to be conveyed will be readily accepted and understood by the audience, whose segmentation is the younger generation.

Pemanfaatan YouTube sebagai Media Pembelajaran Vokal Pop Jazz di Prodi Pendidikan Musik Institut Seni Indonesia Yogyakarta

Utilizing Youtube as a Learning Media for Pop-Jazz Vocal Course at Music Education Study Program of Institut Seni Indonesia Yogyakarta. The research aims to reveal the learning process of the Pop-Jazz vocal course and the utilization of youtube as an accompaniment in learning the Pop- Jazz vocal course. This research is expected to provide solutions for students who face problems in the learning process of the Pop-Jazz vocal course during the covid-19 pandemic. It is qualitative research with a case study approach. Data collection techniques were carried out through direct observation during the learning process. Furthermore, interviews with teachers and vocal students of Pop-Jazz were conducted to obtain the data. It was a case study of vocal students of Pop-Jazz Intermediate 1 at the Music Education Study Program. The literature studies were carried out to support the data and references. This study shows that the interest in vocal learning of Pop-Jazz at the Music Education Study Program by utilizing youtube as an accompaniment at the pop-jazz vocal course can be increased.

The Evaluation of Music Department Students of Institut Seni Indonesia Yogyakarta in Modes Identification

Modes in Modality concept is a musical thinking that was used before 1600s. After 1600s (Baroque Era), the concept of modes changed into a contrast concept called Tonality (major-minor) and still exist today, in our era. Musical knowledge will evolve along with technological advances, but in fact there are so many composers today using the concept of modes to give another nuance and interpretation in their musical works. As academic musicians, surely the students of Music Department of ISI Yogyakarta got the concept of modes in several subject such as music theory, music structure and style, music analysis, and etc. However, the tonality concept that always used by common academic musicians today makes the concept of Modality become so hard to identify if they are heard a musical work that contains modes. This research will show us how many students of Music Department of ISI Yogyakarta who can’t identify a musical work that contains modes.

Sasandu Gong and Sasando Violin: Changing the Pentatonic Scales to Diatonic

This study aims to determine the main causes of changes in the scales that occur. Changes in the scale of the Sasando musical instrument are influenced by mass culture, popular culture and the development of the market industry which has led to the tendency of the people of NTT, especially the city of Kupang to lead to Western lifestyles as if starting to leave local traditions. Values, meanings and social functions of Sasandu Gong are diminished and will even disappear in future generations. The influence of colonialism is assumed to be the cause of the people of Kupang prefer something modern than local wisdom. Some articles, journals, books and even websites often talk about the implementation of local cultural values as a cultural heritage and traditional art which is the identity of the Indonesian people. The author uses the concept of Leela Gandhi and Edward Said in general to discuss efforts to undermine Western hegemony, in which the domination of Western powers over the Eastern world considers the East as weak and full of imagination. The qualitative method is used as an exploratory approach that relies on in-depth data analysis in the form of text obtained from the speakers. The research results are discussed in three (3) stages. First, from the Postcolonial perspective that the change occurred starting from the history of the entry of Christianity into East Nusa Tenggara (NTT) by the Dutch people. Second, musicologically, Sasando Violin experienced the development of scales with several variations made by Mr. Drs. Djony L. K. Theedens. Third, the physicality of the sound of the Sasas Gong changes in shifting functions, values, and meanings that existed before.

Pola Irama Keroncong Progresif - Pada Komposisi Kidung Panyuwun

This research creates a progressive or innovative keroncong rhythm pattern. Keroncong music is one of the musical genres that exist in Indonesia, which is a hybrid music from Javanese (Central Java and Yogyakarta) gamelan music, 'pop' music and Western diatonic orchestras. Keroncong music consists of vocals, ukulele or 'cuk' (derived from Hawai'i), 'cak' (Portugal), flute, violin, cello, and contrabass (instruments derived from Western diatonic orchestral instruments). Since the 1950s until today, the keroncong rhythm pattern has had very little development, so it needs to be developed. There are several rhythm patterns in keroncong music but the ones that are often played are 'engkel' and 'double' rhythm patterns. The aim of this research is to create a progressive keroncong rhythm pattern so that keroncong music is more interesting and it is hoped that it will have more fans. The creation of this progressive rhythm pattern is used in the compositions of the author's Kidung Panyuwun. This study used descriptive and experimental analytical methods with the following steps. First, examine the audio recording, transcribe, analyze, and conclude; second analyzes rhythm patterns on multiple references; the third records (audio-video) a 'standard' rhythm pattern; fourth, exploration of progressive rhythm patterns; the fifth recorded a progressive keroncong rhythm pattern. This research resulted in the creation of several rhythmic patterns and several formulations, namely: 1) the creation of a vertical progressive keroncong rhythm pattern (one-instrument solo, two-instrument solo, three-instrument solo) and 2) the creation of a horizontal progressive keroncong rhythm pattern (two-bar pattern and four-dimensional pattern). time frame). The important thing that has the meaning is the temuah cirikhas or 'ruh' keroncong music as the 'jati diri'.Keywords: rhythm; pattern; keroncong; progressive AbstrakPenelitian ini menciptakan pola irama keroncong progresif atau inovatif. Musik keroncong merupakan salah satu genre musik yang ada di Indonesia merupakan musik hibrid dari karawitan Jawa (Jawa Tengah dan Yogyakarta), musik ‘pop’ dan orkestra diatonis Barat. Musik keroncong terdiri dari vokal, ukulele atau ‘cuk’ (berasal dari Hawai’i), ‘cak’ (Portugal), flute, biola, cello, dan contrabass (merupakan instrumen-instrumen yang berasal dari instrumen orkestra diatonis Barat). Sejak tahun 1950-an sampai hari ini, pola irama keroncong sedikit sekali perkembangannya sehingga perlu dikembangkan. Ada beberapa pola irama dalam musik keroncong tetapi yang sering dimainkan hanya pola irama ‘engkel’ dan ‘dobel’. Tujuan penelitian ini untuk menciptakan pola irama keroncong progresif sehingga musik keroncong lebih menarik dan diharapkan lebih banyak penggemarnya. Penciptaan pola irama progresif ini digunakan pada komposisi Kidung Panyuwun ciptaan penulis. Penelitian ini menggunakan metode analitik deskriptif dan eksperimental dengan lankah-langkah sebagai berikut. Pertama mencermati rekaman audio, mentranskrip, menganalisis, dan menyimpulkan; kedua menganalisis pola irama pada beberapa referensi; ketiga merekam (audio-video) pola irama ‘pakem’; keempat eksplorasi pola irama progresif; kelima merekam pola irama keroncong progresif. Penelitian ini menghasilkan beberapa ciptaan pola irama dan beberapa formulasi, yaitu: 1) penciptaan pola irama keroncong progresif vertikal (solo satu instrumen, solo dua instrumen, solo tiga instrumen) dan 2) penciptaan pola irama keroncong progresif horizontal (pola dua birama dan pola empat birama). Hal penting yang bermakna adalah temuah cirikhas atau’ruh’ musik keroncong sebagai ‘jatidiri’nya.Kata kunci: pola irama; keroncong; progresif

Galong dan Pathet Manyura dalam Pedalangan Ngayogyakarta: sebuah Perbandingan “Rasa”

Galong is a unique and interesting phenomenon in the world of paddling. His capacity as a pathet is still a debate today. Some groups say that Galong is its own pathet, while others say Galong is part of the Manyura pathet. The debate arose because his presence in the puppet show was in Manyura's pathet, but he had a distinctive and relatively prominent five tone. As a result, Galong has a different musical feel to Manyura's pathet. On the other hand, tone five is the dominant tone in sanga pathet and becomes a abstinence in Pathet Manyura. Based on the pathet philosophy, I assume that the pathet in pedalangan and karawitan is only divided from three, namely Nem, Sanga, and Manyura. Therefore Galong capacity needs to be reviewed in relation to puppet shows. To that, the question is: 1) how does Playon Galong "rasa"? 2) What is the function of galong in ngayogyakarta pakeliran tradition?Analysis using martapangrawit's "padhang-ulihan" perspective and functionalism came to the conclusion that Galong belonged to the Manyura pathet. Five tones as thin tones are presented as "pancer" or padhang to give reinforcement to ulihan tones. Thus, the taste is more sereng than the taste produced by Playon Manyura which has padhang-ulihan tone is just as strong. Or in other words, that Galong's function is as a transition to the climax or manyura sampak in a puppet show.

Perancangan Aransemen Lagu Suwe Ora Jamu dan Cublak-Cublak Suweng Ditinjau Dari Perspektif Ilmu Harmoni Dasar

Aransemen musik merupakan suatu kreatifitas seorang arranger untuk mengekspresikan ide kreatifnya yang dituangkan dalam sebuah lagu, dimana tidak mengubah bentuk lagu aslinya. Sebagai arranger harus menguasai teori musik yang didalamnya terdapat ritme, melodi dan harmoni. Dalam pembuatan aransemen harus melihat siapakah yang akan memainkan aransemen, tingkat kemampuan pemain, ambitus suara, dan ciri khas nuansa lagu misalnya dalam lagu tradisional. Pembuatan aransemen ini merupakan suatu kreatifitas musisi untuk menuangkan ide-idenya. Metode yang digunakan adalah metode eksperimen dan mengacu pada penelitian kualitatif dengan observasi ke sanggar Notoyudan untuk mengetahui kemampuan anak-anak sanggar dalam memainkan instrumen, pengumpulan data baik di lapangan maupun study pustaka dan wawancara dengan pendidik ataupun anak-anak sanggar. Sue ora jamu dan Cublak-cublak suweng merupakan lagu tradisional permainan anak-anak berasal dari Jawa tengah, dengan menggunakan tangga nada pentatonis. Perancangan aransemen ini ditujukan untuk mahasiswa yang sedang mengikuti mata kuliah PKL, dikarenakan di luar kampus sangat banyak permintaan masyarakat umum untuk mengaransemen lagu tradisional. Mahasiswa musik harus siap untuk terjun ke masyarakat untuk membuat aransemen dalam bentuk apapun, dengan maksud tidak hanya menggunakan tangga nada diatonis tetapi juga berlatih membuat aransemen dalam tangga nada pentatonis. Hasil dari aransemen ini dimainkan oleh anak-anak sanggar Notoyudan pada saat pementasan. Ilmu harmoni dasar dipergunakan untuk pembuatan perancangan aransemen dan variasi melodi dengan kreativitas ide musikal. Hasil penelitian adalah aransemen dengan penggunaan akor-akor pokok yaitu I, IV dan V, dan dimainkan dalam tangganada A Mayor. Dengan adanya variasi akor-akor harmoni dan variasi penempatan nada dari pecahan akor sesuai dalam penempatannya akan menghasilkan suatu aransemen bernuansa tradisional.