Proceeding of The International Conference on Music and Culture (ICOMAC) en-US [email protected] (Mochammad Usman Wafa) [email protected] (Hafid Zuhdan Bahtiar) Thu, 10 Nov 2022 00:00:00 +0700 OJS 60 Project Based Learning on Learning Model Vocal Technique Study: Digitalization- Based Learning Outcome Analysis <p>The Project Based Learning (PjBL) model emphasizes on making projects from learning, teachers facilitate students to create innovative projects in the classroom. Therefore, the PjBL model is very important to apply to vocal technique courses in order to achieve learning outcomes, as well as outcomes. Since the pandemic, the challenges of practice-based learning have been very high due to limited platforms and other things for online learning. However, innovation is needed in the learning process so that learning outcomes remain optimal, as well as student motivation remains high. This study aims to increase creativity and skills in the vocal field, as well as add to the learning experience through digitalization. The research was conducted on fourth semester students of the Isi Yogyakarta Performing Arts Education Department using a one group pretest postest design. The results showed that the PjBL learning model is effective in improving the quality of skills and creativity in the field of digitalization-based vocals. </p> Hana Permata Heldisari Copyright (c) 2022 International Conference on Music and Culture (ICOMAC) Mon, 31 Oct 2022 00:00:00 +0700 Learning And Performance Of Nusantara Music In East Nusa Tenggara During Covid- 19 Pandemic <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>Ethopedagogic and performance is part of Ethnomusicology. This theory explains performance as an inseparable part of community activities. The research locations are in several places in the province of East Nusa Tenggara. Those places are Sikka Regency, West Sumba, Rote, Timor and Alor. The results of the study as follows: learning and performance on ethnic music in East Nusa Tenggara will continue to be carried out during the COVID-19 pandemic. This is because ethnic music is part of the ritual that must be carried out. Implementation in small groups consisting of 6-15 performers. Learning is passed down from generation to generation in the family areas. This can be seen in the manufacture Terren bass musical instruments in Sikka and Jungga in Sumba. In addition, the development of the rekoboko musical instrument in Amarasi is also a sign that musical creativity in ethnicity is still being carried out. The thing that cannot be carried out is performances in festivals that involve a large number of performers, such as the harvest ritual. The findings in this study are four areas of ethnic music (1) family; (2) rites; (3) small groups; (4) music festival. These four domains show the areas of learning and performance of ethnic music.</p> </div> </div> </div> Iswanto Iswanto, Irfanda Rizki Harmono Sejati Copyright (c) 2022 International Conference on Music and Culture (ICOMAC) Mon, 31 Oct 2022 00:00:00 +0700 Development Of Competency Assessment Instruments For Music Learning Management Of European Standard <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>Cultural Arts and Skills subjects taught in schools are more concerned with creative, ethical and aesthetic attitudes and behavior, as well as understanding the role of Cultural Arts at the local, regional and global levels. While the assessment of teacher competence is an important thing that must be considered as a general proof to the community that schools can educate students better and more effectively. This study aims to develop a competency assessment instrument for managing music learning processes in junior high schools.This study uses development research methods using four stages which include preliminary stage which consists of analysis of existing assessment instruments, teacher competency analysis, literature study, and needs analysis in the learning process. Next planning stage, among others compiling product specifications, compiling instruments for comparison of existing and future evaluation tools, reviewing competencies in instruments, designing initial forms (prototype) product and development instrument products. Then the trial stage was carried out on students who take practical courses in teaching Music at the S-1 level, as many as five students as a sample. The last stage of implementation is apply the product that has been made. Results obtained from research This is that the assessment instrument developed is stated in accordance. This is evidenced by there is a trial of an instrument that has coverage aspect Theory evaluation which more complete than existing instruments. There is a new indicator in the developed assessment instrument, namely an assessment of the competence to manage and monitor the interaction of learning the art of music. The assessment instrument developed can be used as an evaluation or assessment tool in assessing the competence of teachers in managing and monitoring the interaction of music learning.</p> </div> </div> </div> Dian Herdiati, Dani Nur Saputra Copyright (c) 2022 International Conference on Music and Culture (ICOMAC) Mon, 31 Oct 2022 00:00:00 +0700 The Concept Of A Musical Education Paradigm Based On The Scientific Discipline Of Art In elementary Schools <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>This study aims to provide an overview of music education at the elementary school level as an important part of the growth and development process of students. Learning paradigms and concepts must pay attention to several characters of student brain development such as improvisation of singing, recognizing differences in consonants and dissonants, developments in showing rhythm, developments in remembering melodies and recognizing kadens, being able to feel harmonics, and finally increasing cognitive appreciation and emotional response. The approach method in this study uses a phenomenological approach with several observations of literature studies and observations in the field. The results of this idea show that the learning process can include aesthetic aspects, studio practicum aspects, art history aspects, and art review / criticism aspects. The idea of this paradigm is a form of contributing thought as a music educator in the elementary school environment.</p> </div> </div> </div> Fajry Subhaan Syah Sinaga, Suwito Suwito, Udi Utomo, Syahrul Syah Sinaga Copyright (c) 2022 International Conference on Music and Culture (ICOMAC) Mon, 31 Oct 2022 00:00:00 +0700 Dolanan Song As A Medium Of Art Expression And Children’s Social Relations <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>Nowadays, new creations of children's dolanan songs are becoming increasingly rare. What arises and develops are adult songs in the form of the music industry accompanied by dangdut koplo. The research aims to reconstruct how the dolanan songs, which still exist, are used as a form of artistic expression and as a medium for children's social relationships. The research method applied is descriptive qualitative. The research location is Semarang, conducted in several schools that teach the dolanan songs. Data collection techniques used in this research are observation, interviews, and documentation studies. The data validity technique uses triangulation by matching data from observations, interviews, and study documentation. The data analysis technique uses an interactive analysis flow. The study results show that first, the dolanan songs, which are used as an art facilitator at school, can be used by children to express art under teacher guidance and can be used as a means of social relations between students facilitated by the teacher. Dolanan songs are recommended to continue to be used as an educational medium for children through formal education. It is hoped that children's artistic expressions will be channelled and can be used as a medium for children's social relations through art according to the children's souls.</p> </div> </div> </div> Wadiyo wadiyo, Slamet Haryono, Joko Wiyoso Copyright (c) 2022 International Conference on Music and Culture (ICOMAC) Mon, 31 Oct 2022 00:00:00 +0700 Increasing Students' Knowledge Through Make A Songs Training At Tanjong Malim National School <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>Tanjong Malim National School is one of the elementary school levels located in Perak, Malaysia. This school needs attention because it is far from Malaysia's capital city. Schools have many students, so it is necessary to be equipped with good knowledge. One of the debriefings can be done through training in making songs. Making songs can stimulate students to think creatively. They not only learn music theory but also hone their language skills. The activity was carried out with a descriptive qualitative approach. Data collection was done through semi-structured interviews and direct observation. The collected data is a collection of activities that are presented and described. The training is carried out using. The results show that songwriting training can improve music and language skills for students at the National School of Tanjong Malim. In addition, the process of activities carried out has an impact on increasing student confidence.</p> </div> </div> </div> Dani Nur Saputra, Naori Miyazawa, Jonathan M. Pading, Tara Mustikaning Palupi, Dian Herdiati Copyright (c) 2022 International Conference on Music and Culture (ICOMAC) Mon, 31 Oct 2022 00:00:00 +0700 Strategy For Supervision Of Dayak Ngaju Traditional Music For GKE Tewah Youth <p>Gereja Kalimantan Evangelis (GKE) Tewah is one of the pioneer churches located in Tewah District, Gunung Mas Regency, Central Kalimantan which provides coaching on Dayak Ngaju&nbsp; traditional music to youth congregations.The problem found&nbsp; in this research is the lack of musical ability of the youth of GKE Tewah to be able to play or bring traditional music.This research was conducted to describe the process, application and results of the Dayak Ngaju traditional music supervision strategy in an effort to improve the musical abilities of the youth of GKE Tewah. The research method used is descriptive qualitative.&nbsp; Data were collected through interviews, observation and documentation.The results found are; (1) There is the implementation of Total Quality Management (TQM) in the implementation of the Dayak Ngaju traditional music supervision strategy which includes;&nbsp; preparation stage, planning stage and implementation stage;&nbsp; (2) There is a creative process in making Dayak Ngaju&nbsp; traditional music arrangements that can be used to accompany congregational singing during Sunday worship at GKE Tewah;&nbsp; (3) Increasing the musical ability of the youth of GKE Tewah;&nbsp; (4) There is an application in the ideas of Edward Sallis; (5) The increase in the quality of church music services at GKE Tewah.</p> Pransinartha Pransinartha Copyright (c) 2022 International Conference on Music and Culture (ICOMAC) Mon, 31 Oct 2022 00:00:00 +0700 The Musical Form Of Dugderan Dance An Art Expression Of The Society Of Semarang City <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>Dugderan dance is a result of creativity in the form of dance art on a research of the preservation of shore dances in Semarang, adopted from a cultural phenomenal show. All composition elements in the show are expressed in art practice, which on this matter, is dance art practice. The purpose of the research is to answer on matters of form of the accompaniment music of Dudgeran dance. This research discusses Dugderan dance from an ethno-musicological aspect, Peirce’s semiotic theory, and karawitan composition by Rahayu Supanggah. In this research, qualitative data with data analysis technique of cycle model was used. The result of the research showed that the form of the accompaniment music of Dugderan dance is a type of traditional development music which reflects four types of culture (Javanese, Arabian, Chinese, and Dutch (the West), flourishing in Semarang City.</p> </div> </div> </div> Agus Cahyono, Widodo Widodo, Nadia Sigi Prameswari, Kusrina Widjajantie, Septian Cipto Nugroho Copyright (c) 2022 International Conference on Music and Culture (ICOMAC) Mon, 31 Oct 2022 00:00:00 +0700 Musical Ability and Social Sensibility: Analysis of Post Covid-19 Pandemic <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>The purpose of this research is to discover whether or not there is a correlation between musical talent and social sensitivity in the early adulthood of school pupils st Fermata Music Course, Antonio School of Music, and Allegreto School of Music Yogyakarta, totaling 107 students. In this research, correlation is used along with a quantitative approach. The subjects in this research are all students at Fermata Music Course, Antonio School of Music, and Allegreto School of Music Yogyakarta, totaling 107 students. This study's sample was gathered using stratified random sampling with the age range of 20 to 25 years as the criterion, yielding a total of 30 participants. A questionnaire was used to measure social sensitivity, and a musical aptitude exam was administered to gauge musical talent. The instrument's construct and content validity were evaluated using the product moment technique and expert judgment, respectively. The data were analyzed using Pearson's product moment correlation with musical talent as the independent variable and social sensitivity as the dependent variable. Based on the r values of -0.423 and sig of 0.02, there is a statistically significant and very unfavorable correlation between musical talent and social sensitivity among young adults. This demonstrates that the better the musical talent, the lower the social sensitivity, and vice versa: the lower the musical ability, the greater the social sensitivity. On the course of online learning (in the network), musical skills can still be honed.</p> </div> </div> </div> Rosa Virginia Cindy Pramudia, Dewi Indrileani, Tarisya Maretaura Lesmana, Felix Hansel Raditya Wibowo, Hana Permata Heldisari Copyright (c) 2022 International Conference on Music and Culture (ICOMAC) Mon, 31 Oct 2022 00:00:00 +0700 I Want To Celebrate As Hymns Acculturation Of I Will Sing Of My Redeemer (An Analysis On A Sangihe Masamper Song) <p>This research aims to analyze the acculturation process through the hymn <em>I will sing of my Redeemer, which became </em>Hymn Masamper<em>I Want To Celebrate. </em>I will use a qualitative approach to explore the perspective of ethnomusicology and hymnology through observation, interviews, and literature review. Observations have been made for a long time because the researcher is also the artist of Masamper Art. But the focus of observation from 2008 until now has been Observations were made on various Masamper performances in the Sangihe community in the Sangihe Islands and the Sangihe diaspora community on the mainland of North Sulawesi in the city of Manado. The results of the analysis found that the existence of the song "I want to be grateful," Masamper's singing in the Sangihe community, is the result of acculturation from the Hymn. song<em>I will sing of my Redeemer works by Philip </em>Paul Bliss. The results of this acculturation found that there was a change in form from a 3 stanza strophic form to a 1 stanza strophic form, but it is done repeatedly. The bars have also changed from 9/8 bars for the original song to bars for mourning (Masamper Sabuah) and 4/4 bars during party performances or competitions (Mebawalase). The tempo changes from fast to slow but uses stress on each word. Meanwhile, the meter still uses the CM (Common Meter) pattern except for the refrain. The syllabic pattern, or singing with one note for one syllable, is still carried out, but new developments have emerged in the Sangihe community, namely the Manahola singing style, or singing before the main song word, the Mamaranca style of singing repeating words in the verse that are currently being sung, and the Yora style of singing while singing. Do word stresses on the refrain or repetition of the song, which is usually done while dancing.</p> Glenie Latuni Copyright (c) 2022 International Conference on Music and Culture (ICOMAC) Mon, 31 Oct 2022 00:00:00 +0700 Millennial Teen Phenomeon About Piano Learning In Semarang <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>Smartphone communication technology is an interesting phenomenon in this millennial era, which is able to change human habits. How millennial teens respond to technology and information, with respect to piano learning. How are the advantages and disadvantages of learning piano using gadgets.</p> <p>This type of research uses qualitative research, with data collection techniques, namely observation, interviews and documentation. Data analysis techniques include the stages of data reduction,dataclassification,datadescriptionandinterpretation,andfurtherconclusions. The disciplinary approach used to dissect, analyze this problem is a phenomenological theory by looking at aspects of philosophy and psychology. The purpose of this article is to discover something behind the phenomenon of millennials learning piano. Data shows that 2/3 percent of millennial teens like to learn piano on a smartphone, because smartphones are more economical, practical, individual and entertaining. However, smartphones have limitations, namely that millennial teenagers cannot ask questions directly, and tend to only accept knowledge whose level of truth is still questionable. Discipline in learning to use a smartphone is poorly maintained, because the training schedule is very dependent on the student. The evaluation of learning is also nothing to anticipate</p> </div> </div> </div> Kusrina Widjajantie, Udi Utomo, Ratnawati Ratnawati Copyright (c) 2022 International Conference on Music and Culture (ICOMAC) Mon, 31 Oct 2022 00:00:00 +0700 Forms And Functions Of Traditional Folk Dance In Central Java <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>The arts and culture of traditional Javanese dance, both classical and folk, are still alive, especially in the life of the people of Central Java. Central Java society consists of people who live by upholding the cultural values of the palace with the lives of the general public who uphold the values of folklore. Both the cultural values of the palace and the local cultural values that exist in each region, at present seem to have merged into one local culture of Central Java which is upheld for its nobility.</p> <p>As has been stated, for the life of traditional Javanese dance, both classical and folk dances are alive and well. Of course the development is in their respective dimensions because both have different roots of emergence (Mangoensong &amp; Yanuartuti, 2020; Lestari et al., 2021; Astuti, 2010). Any existing embodiment is a reflection of the culture of the owner community. Classical traditional dance is a reflection of the life of the palace community which describes how the life of the palace in the past. Likewise, traditional folk dance, which of course also describes the socio-cultural life of the community where the art of dance appears, lives, and develops (Buckland, 2007).</p> <p>The life of the world of dance in the general public and on campuses such as the conservation campus of Universitas Negeri Semarang, which is located in the capital city of Central Java, has become a strong pillar for the existence of every type of dance, or especially traditional dance in Central Java, to be well preserved. The types of dances for classical, folk, and even modern are need to be upheld for their noble values. In this regard, it is important to study the process of existing dance arts realization and preservation, whether traditional classical or traditional folk, even those that have developed into a modern traditional dance form. However, before examining complex issues, this paper only discusses a very basic problem, namely "the form and function of traditional folk dance in Central Java". It is hoped that in the future, by knowing how the form and how the people's traditional dance is functioned by the supporting community, it will also be possible to study other issues related to the existence of traditional populist dances that live in Central Java society in general.</p> </div> </div> </div> Malarsih Malarsih, Usrek Tani Utina, Sestri Indah Pebrianti Copyright (c) 2022 International Conference on Music and Culture (ICOMAC) Mon, 31 Oct 2022 00:00:00 +0700 Fixed “Do” in Numerical Notation Encourages Children Learning and Playing Music <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>The objective of this research is to examine the effectiveness of Fixed Approach on Numerical Notation in navigating children to read notation and to play composition using pianika, a small wind keyboard instrument mandating in music class at most schools. The methodology uses library research, direct method and analytical descriptive method. Students aged 10 to 12 were asked to play a familiar melody written in movable numerical notation method in natural scale. The song was then composed into four voices harmony in which each child played different part. When the key was changed into F, they looked hesitated. To be able to read and play different scale with movable approach, students must understand the concept and the interchange position across the keyboard’s white and black keys in which most children failed. When the composition was turned into Fixed Approach, the song could be completely performed. With the support of multimedia, more children from different ages eagerly joined and willingly to learn music in different scales. This study is limited to: how Fixed Numerical Approach arises the children’s intention to read notation and to play music. It was found that the method enabling children to independently and easily learning and performing music, indicating that it can be effectively used in music classroom especially in post pandemic era where self- paced learning is indispensable.</p> </div> </div> </div> Ellen G.Y. Manueke Copyright (c) 2022 International Conference on Music and Culture (ICOMAC) Mon, 31 Oct 2022 00:00:00 +0700 Involvement of Straight Motion Kinematics as a Basic Musical Features In The Music Work of Albertus Tanuwidjaya’s “Jalan Menuju Surga” <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>This research examines the stages of Albertus Tanuwidjaya's creative process in making the final project musical work "Jalan Menuju Surga". It aims to discover the form of involvement of elements of the kinematics of straight motion in musical works, as the basic concept in making a final project music work in 2019. Albertus Tanuwidjaya also explored the concept as an extramusical idea. This research uses descriptive qualitative research methods with a case study approach. For the result, there are several stages in the process of creativity in the cultivation, namely the stages of processing kinematic data and presenting data in the form of graphs. The next stage of transformation results from the process of kinematic data into musical works with the establishment of rules to limit the transformation process. The last stage is the processing of creating a musical composition by applying the transformation according to the composer's wishes and then combining it with other aspects beyond the transformation rules. The kinematic elements involved in "Jalan Menuju Surga" transformed into the form of musical features that uses as basic concepts in the process of producing musical works.</p> </div> </div> </div> Maria Octavia Rosiana Dewi Copyright (c) 2022 International Conference on Music and Culture (ICOMAC) Mon, 31 Oct 2022 00:00:00 +0700 Self Reflection Rituals In Packing Of The Virtual Traditional Performing Art In The Covid-19 Pandemic Era <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>Restrictions on large-scale social activities in order to reduce the impact of the transmission and/or spread of the covid-19 pandemic, have led to the decline of various art activities, especially for performing arts artists that based on traditional. In order to maintain their existence in the arts, most of the tradition-based performing arts communities residing in Yogyakarta and in Surakarta-Central Java, they change the style or pattern of performances that were previously direct (can be seen by the audience directly) into virtual performance patterns. The term 'mengamen or ngamen' which means walking around with singing and/or playing music to earn money, was changed by the introduction of the new term 'ngamen online', namely virtual busking. In addition, they have more focus on the concept of ritual which is packaged in a minimalist way into a virtual form. The ritual concepts in the show are a representation of self- reflection or even a form of expression of Eastern aesthetic "renaissance" in response to changes in social activities caused by the impact of the Covid-19 presence. This paper reviews the impact of the covid-19 pandemic on traditional-based performing arts which is the result of defending the existence of the supporting community as self-reflection material aimed at the audience and the artists themselves.</p> </div> </div> </div> Tejo Bagus Sunaryo, Irfanda Rizki Harmono Sejati Copyright (c) 2022 International Conference on Music and Culture (ICOMAC) Mon, 31 Oct 2022 00:00:00 +0700 The Mystical Value Of A Jaran Kepang Turonggo Seto Cepit Performance In Pagergunung Village Temanggung Regency <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>Jaran Kepang dance is a traditional populist dance that emerged and developed among the community, especially in Temanggung Regency. The performance contains a mystical value in the elements of the performance. The purpose of this study is to know the mystical value of the Jaran Kepang dance performance in the Jaran Kepang Turonggo Seto Cepit Pagergunung group, Bulu District, Temanggung Regency. This study used a qualitative research method with the phenomenological and Emic-Ethic approaches. The research data collection techniques used observation, interviews, and documentation. The results of the study show that the Jaran Kepang Turonggo Seto Cepit Pagergunung Dance contains mystical values in the ritual, trance, offerings, and handler. In addition, the mystical elements of the performance include the movement of dancers who are possessed and the dance accompaniment in the form of gamelan when the dance performance is carried out with the provision of offerings. The properties of Jaran Kepang dancers are a dummy horse, whip, gendewa, makeup, costumes, and staging area. The conclusion shows that the mystical value in the Jaran Kepang Turonggo Seto Cepit Pagergunung Dance performance occurs through a worship ritual performed by the handler to a spirit who has supernatural powers that are present when the show is performed. The supernatural spirit enters the body of the players, the objects that became a means of support, and the audience around the staging area. The presence of the spirit is something that is expected so it is presented using offerings as a means of respect and communication. Therefore, the mystique in the performance of jaranan appears the value of belief and magic.</p> </div> </div> </div> Indriyanto Indriyanto, Cindy Dwi Kusumawardani, Budi Astuti Copyright (c) 2022 International Conference on Music and Culture (ICOMAC) Mon, 31 Oct 2022 00:00:00 +0700