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Contact Name
Reizki Habibullah
Contact Email
reizkihabibullah@gmail.com
Phone
+6281372370131
Journal Mail Official
jurnalsorai@gmail.com
Editorial Address
Jl. Ki Hadjar Dewantara No.19, Kentingan Jebres Surakarta, Indonesia
Location
Kota surakarta,
Jawa tengah
INDONESIA
Sorai: Jurnal Pengkajian dan Penciptaan Musik
ISSN : 24073938     EISSN : 26849445     DOI : -
Core Subject : Humanities, Art,
The journal invites original, significant, and rigorous inquiry into all subjects within or across disciplines related to music creation, music studios, and ethnomusicology. It encourages debate and cross-disciplinary exchange across a broad range of approaches. The spectrum of topics include: 1) Review of Nusantara Music 2) Sociology of Music 3) Anthropology of Music 4) World Music Culture 5) Digital Music Studies 6) Archaeology of Music 7) Intercultural Studies of Music 8) Ethnography of Music 9) Music and Multicultural Education 10) Music Criticism 11) Musician Profile and Thought 12) Artistic Review of the Music Creation Process.
Articles 31 Documents
HIP HOP “BERASA” JAWA (PROSES PENCIPTAAN MUSIK HIP-HOP KM 7 YOGYAKARTA) Abrianto, Chandra Okta
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol 12, No 1 (2019)
Publisher : Institut Seni Indonesia Surakarta

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Abstract

Boedi Pramono?s creativity as the creator of the Hip Hop KM 7 group is by combining Javanese traditional music with hip hop music. This paper reviews from the beginning of Boedi Pramono?s artistic career until the formation of Hip Hop KM 7. The problems that arise are (1) Revealing and explaining the formation and structure of Hip Hop KM 7?s music, (2) Explaining the creative process of Hip Hop KM 7?s music. To answer such problems, this research employs qualitative research methods by studying empiricism, trying to be able to express objectively which is more oriented towards the field of textual research, with the addition of Bambang Sunarto?s concept of the creative process in art. The creative process of art is the process of finding the constructive elements of art in regards with (1) the artist?s belief in creating the artwork, (2) the vocabulary and the artistic model, (3) the artistic concepts and (4) the artistic models, which are then used as means to create the artwork, thus answering the question. This article reveals that: firstly, the musical form presented by Hip Hop KM 7 is a digital-based music enriched with gamelan idioms and in general Javanese traditional music. Here, the musical structure is divided into two musical impressions, namely the West and the Traditional music. Secondly, Boedi Pramono with his musical creativity formed Hip Hop KM 7 from a thickly artistic environment and later included the traditional element and further the traditional dance to the hip hop music.Keywords: Hip-hop Jawa, Hip-hop Km 7, Hip hop Yogyakarta.
AKTUALISASI SIMBOL-SIMBOL PERLAWANAN DALAM PERTUNJUKAN MUSIK HIP-HOP TRAHGALI SOULJA DI SURAKARTA Putra, Surya Purnama
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol 12, No 1 (2019)
Publisher : Institut Seni Indonesia Surakarta

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Abstract

This paper contains the actualization of resistance symbols contained in the performances of Trahgali Soulja, a hip-hop music group based in Surakarta. This includes reviewing the audience?s response to the music performed. The problems that arise are (1) the efforts of the Soulja Trahgali music group in constructing the symbols of resistance, (2) the form of actualization of ideas or the construction of symbols through the stage actions performed by Trahgali Soulja that illustrate the ideology of resistance, and ( 3) audience?s response to the stage action offered by Trahgali Soulja. The production and packaging of Trahgali Soulja?s performances are carried out on the backstage/back region - including the discovery of musical ideology, the process of interpreting the ideology of resistance, and the behind-the-scene communications among players. Then a scenario for the performance is employed in the stage action on the front stage/front region, and of course there are elements to support the performances being prepared. The positive response is shown by the audience with the emergence of the Red Ax Soldier community which supports the entire behavior of Trahgali Soulja, and not even rarely did this community adopt the musical behavior of Trahgali Soulja. In addition, social media such as Facebook, YouTube and Instagram also become the showrooms for this group?s hip-hop songs.Keywords: actualization, symbol of resistance, hip-hop music performances, trahgali soulja.
EKSISTENSI PERTUNJUKAN DAN KONSEP DALAM BERKARYA SOLO BEATBOX COMMUNITY Wari, Tantri Nindyas
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol 12, No 1 (2019)
Publisher : Institut Seni Indonesia Surakarta

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Abstract

The music carried by the Solo Beatbox Community has its own attraction in the form of a musical imitation of a show. Imitating the sound of musical instruments with mouth, i.e. playing music without using real musical instruments, the sound produced was almost indistinguishable to that of the original instrument. This uniqueness raises the aspects regarding the existence of the group?s performances whose by all means are inseparable from the works presented to the audience. Social media plays an important role in the development of their community, from promotions to publications on the Solo Beatbox Community. In order to get their stage, the Solo Beatbox Community uses the gethok tular (?word of mouth?, ?viva voice?) method to facilitate their access toward the upcoming shows. Member regeneration is also one of the efforts to prevent this community from dying out. They have elements in the conceptualization of their work that is based on the type and concept of the event in question, as well as the musical trends that are popular with the public. This triggered the existence of the Solo Beatbox Community show.Keywords: Solo Beatbox Community, The concept of creating Solo Beatbox Community.
TRADITIONAL MUSIC AND CONTEMPORARY TRENDS: MUSIC IN ASEAN COMMUNITIES Nicolas, Arsenio
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol 12, No 1 (2019)
Publisher : Institut Seni Indonesia Surakarta

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Abstract

The traditional music and performing arts in the ASEAN have found new powerful conduits of transmission with the advent of the digital age. Although claims of cultural ownership over music and dance occasionally appear on social networks and media platforms, the ubiquity of the Internet has in fact benefitted the general public, allowing them access to images and sounds hitherto unknown. Modernisation has taken its toll on the region?s musical heritage. Ancient elements of indigenous music have faded away. The influx of popular and Western music has increasingly eroded the space and demand for traditional music. Many orchestras in the region feature diverse musical instruments tuned to a common Western tuning system, thus relinquishing their Asian musical roots. The fusion of Asian musical ensembles with Western musical instruments has forced the tuning of gongs, xylophones, metallophones, and singing to the Western diatonic scale, losing their indigenous resonances, sonorities, and timbres. Urbanisation and the migration of the young into urban areas disrupted the discontinuity in generational transmission of music. Village rituals and ceremonies play an important role in preserving ancient religious systems where music, dance, and theatre were essential as part of agricultural life, trance and curing rites, and communal well-being. The onslaught of mass media and the Internet has also accentuated the de-sacralisation of ritual spaces, leaving many musical traditions behind as memories of the past.Keywords: traditional music, urbanisation, de-sacralisation, memories, ASEAN.
PENCIPTAAN MUSIK KERONCONG DAN WAYANG INOVATIF DALAM PERTUNJUKAN CONGWAYNDUT Romadona, Eko Aprianto
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol 12, No 1 (2019)
Publisher : Institut Seni Indonesia Surakarta

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Abstract

Congwayndut is one of the puppet groups whose performances depart from the traditional wayang (puppetry) style. The wayang play itself belongs to the comedy genre. Nevertheless, the stories presented are still adopted from the stories of Ramayana and Mahabarata. There are some interesting things to be used as discourse materials from Congwayndut, whose accompaniment belongs to the so-called keroncong music, while the duration of the music is shortened to two or three hours. The sanggit of the Ramayana and Mahabarata puppet stories are also interpreted humorouslyand ?exibly. This paper reveals the musical facts in the puppet group, that keroncong music is able to give its own impression as pakeliran music. Then, the celloin keroncong music is able to provide a distinctive aesthetic touch toaccompany the war scene. Besides that, it also discussed the performance sketches of the Congwayndut group.Keywords: congwayndut, wayang keroncong, innovative shadow puppet.
RECYCLE: DARI SAMPAH MENJADI BUNYI (KAJIAN PENCIPTAAN MUSIK KELOMPOK WAYANG SAMPAH DI SURAKARTA) Setyawan, Dony
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol 12, No 1 (2019)
Publisher : Institut Seni Indonesia Surakarta

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Abstract

The Wayang Sampah (?trash puppet?) group gives a new breakthrough inthe world of music and puppetry, as the sound phenomena that emergefrom musical instruments made from waste raw material, as well as theorganological and visual engineering of the waste become interestingreasons to study. The community?s inclination towards environmental issues becomes the main characteristic of the Wayang Sampah. The breakthrougho+ered is that the music must be sounded and that it must contain an environmental message for the public. For such cause, in their shows, theWayang Sampah always carry a message to save the environment from thedangers of poorly managed garbage. Second, the music used to accompanythe Wayang Sampah performance contains a composition that supports popmusic and tradition. Music is not always about the quality of sound and theconcept of music, but the breakthrough of medium sound is also animportant aspect in the world of music debate. The creativity of Toni Kondein manipulating the organology of waste or used goods is a breakthrough inthe world of recycling. Waste can create artistic sound with good musicalorganology engineering system. Third, this achievement in soundengineering leads to the compository process for new musical garaps. Themusical works presented in Wayang Sampah are works by Wahyu Tuwek.In their performance, Sojazz musicians perform musical interactions amongthe musicians in two forms of process. Gesture interactions include eyecontact, hand code, head jerking, lip reading and overall body postureapplied as cues while improvising. The second form of the process isthrough the musical interaction itself such as accompaniment, melodicphrase and rhythmic motif, tension growth, and trade four. The process ofmusical interaction applied by Sojazz musicians as mentioned above isthrough gesture used to create mutual interaction between musicians.Keywords: Recycle Music, Wayang Sampah, trash puppet.
PERSEPSI DALAM TRANSFORMASI KARYA SASTRA : STUDI PENGGUNAAN PUISI BUNGA DAN TEMBOK OLEH KELOMPOK MUSIK MERAH BERCERITA Fitriyanto, Choiri
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol 11, No 1 (2018)
Publisher : Institut Seni Indonesia Surakarta

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Abstract

ABSTRACT This paper attempts to describe how the Merah Bercerita music group builds the perception of Wiji Thukul's poem entitled "Flower and Wall" and pours it into a song. It is noteworthy that this musical work is not merely showing the phenomenon of mere musical performances, but also is an effort in giving musical power to the poetic text that is full of social criticism. In this qualitative research, data collection is done with emphasis on the concept of perception as the main perspective, then the data is interpreted to be analysed. The conclusion of this research is the existence of three stages in the process of perception conducted by Merah Bercerita group, namely (1) sensation, (2) attention, and (3) interpretation. Kata Kunci : persepsi, puisi, musik, bentuk musik
PIG-SQUEALS : TEKNIK PEKIK BABI DARI GENRE SLAMMING METAL Megantoro, Andhika Rifki
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol 11, No 1 (2018)
Publisher : Institut Seni Indonesia Surakarta

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Abstract

ABSTRACT Pig-squeals is a vocal technique that produces a sharp screech resembling the sound of a pig in the Slamming Metal genre. The sound-produced articulation sounds vague, even sounds amateur, but in fact pig-squeals vocals require difficult pronunciation and breathing techniques. The vocals of the pig-squeals itself contains aesthetic elements such as (1) quality of the sound, (2)  volume intensity, and (3) "opacity" of articulation. According to George Baker's book (1963) entitled : The Common Sense of Singing, the â??beauty elementâ? in the pig-squeals technique, especially related to the principle of vocal articulation, is considered to be non-conventional, so in this study the Paretox Aesthetic concept of Jakob Soemardjo is used. The elements of beauty that support the vocals of pig-squeals include gesture and vocal mimic that adds to the impression of ferocity of the slamming metal genre. Kata kunci : pig-squeals, slamming metal, estetika paradoks
KERONCONGKU, NGRONCONGI Prabowo, Bayu Raditya
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol 11, No 1 (2018)
Publisher : Institut Seni Indonesia Surakarta

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Abstract

ABSTRACT Keroncong music has a basic concept of musical achievement that is often expressed by keroncong artists with the word "ngroncongi". Ngroncongi is a term that refers to the Java language. Keroncong becomes the basic word, which at the beginning of the word is affixed "Ng- "  and at the end the word gets "-i", so initially keroncong is a noun, turning into an adjective after it turns into "ngroncongi". Ngroncongi is a musical aspect that becomes an indication of keroncong music characteristic. Ngroncongi will be achieved when it reaches the aesthetic and keroncong culture. Musicality which is "ngroncongi" is constructed by several musical elements such as, samen spelen; ngglali; nyendaren; mbesut; luk; gojek; isen-isen; mbanyumili; and sintiran. Those elements are synergized to accommodate the concept of "ngroncongi". The elements of rhythmic pattern are sintiran, mbanyumili, and gojek. The elements for ornamentation are ngglali; mbesut; luk; nyendaren; and isen-isen. While the element of "samen spelen" is for a musical interaction between players by giving each other musical communication. These elements found from the emissive knowledge of keroncong players who are represented in musical way to build musicality which is called "ngroncongi". Kata kunci : Keroncong, Ngroncongi, Musikalitas
KREATIVITAS ARI WULU SEBAGAI DJ DALAM EDM (Electronic Dance Music) Akbar, Hanolda Gema
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol 11, No 1 (2018)
Publisher : Institut Seni Indonesia Surakarta

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Abstract

ABSTRACT EDM is an electronic music that is rising in popularity in the present era. This phenomenon that led to the birth of a young DJ, and also gave birth to a big festival with the theme of EDM. EDM has a relationship with the concept of DJ which is the operator who controls the music to be presented at every show. DJ has had a rapid development, which formerly departed from broadcaster radio. Now DJs can be found everywhere since EDM has expanded out of its normal place in discotheques. Ari Wulu is a DJ who has different characters. The purpose of this research is to know the creativity of Ari Wulu which is explained based on the opinion of Rhodes using 4P consisting of Person, Press, Procces, and Product. The result of the research is the creativity of Ari Wulu as a DJ in EDM, much influenced from his experience as an electronic music composer. The music form chosen by Ari Wulu is purely electronic music that has a repetitive rhythm and uses pentatonic melodies. Kata Kunci : EDM, Ari Wulu, kreativitas, dan bentuk musik

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