Journal articles on the topic 'Media music'
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Sapalakkai, Rini Sumanti, Fransiskus Irwan Widjaja, and Fredik Bouliu. "Musik sebagai Media di Ladang Misi." PROSIDING PELITA BANGSA 1, no. 2 (February 4, 2022): 111. http://dx.doi.org/10.30995/ppb.v1i2.508.
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Music functions as a communication tool to reach the soul by proclaiming the truth of God's word. Music has a very helpful role in evangelism through songs that are created, sung as a testimony to true stories in the lives of believers who declare that Jesus is Lord and Savior. This study aims to discuss music as the spearhead of the mission field. The method used in this research is a literature study approach, carried out by collecting data relevant to the topic or problem in this research. The results of this study will describe music as a medium of worship, music as a medium for preaching God's word, and music as the spearhead of harvesting the mission field. AbstrakMusik berfungsi sebagai alat komunikasi untuk menjangkau jiwa dengan memberitakan kebenaran firman Tuhan. Musik memiliki peran yang sangat membantu dalam pekabaran injil melalui lagu yang diciptakan, dinyanyikan sebagai sebuah kesaksian kisah nyata dalam kehidupan orang percaya yang menyatakan bahwa Yesus adalah Tuhan dan Juruselamat. Penelitian ini bertujuan untuk membahas musik sebagai instrumen yang penting di ladang misi. Metode yang digunakan dalam penelitian ini adalah pendekatan studi kepustakaan, dilakukan dengan mengumpulkan data yang relevan dengan topik atau permasalahan dalam penelitian ini. Hasil penelitian ini akan mendeskripsikan mengenai musik sebagai media dalam ibadah, musik sebgai media pemberitaan firman Tuhan, dan musik sebagai ujung tombak penuaian ladang misi.
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Simanjuntak, Fredy. "Musik Sebagai Media Terapi Penyembuhan: Sebuah Penelusuran Historis dalam Alkitab." Jurnal EFATA: Jurnal Teologi dan Pelayanan 8, no. 2 (July 2, 2022): 115–26. http://dx.doi.org/10.47543/efata.v8i2.66.
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Music has evolved in such a way, including within the church itself, but there is a part of music that is often overlooked in the church, namely the power of music in healing. In particular, the researcher takes the setting of the use of music in pentecostal-charismatic churches. This paper is a historical search in the Bible regarding the use of music in worship as a healing medium. The researcher as one of the music activists in the church gives an assessment that the sound produced by musical instruments in a series of praise and worship in worship affects the welfare of the congregation. The type of research used is descriptive research, using a qualitative approach. Researchers conclude that musical healing is real and far from speculation. Relying on the biblical basis of music as a therapeutic medium, the researchers revealed that music has the potential to have a therapeutic function in worship. AbstrakMusik telah berkembang sedemikian rupa termasuk di dalam gereja sendiri, namun ada bagian dari musik yang sering terabaikan dalam gereja, yaitu kekuatan musik dalam kesembuhan. Secara khusus peneliti mengambil setting penggunaan musik pada gereja-gereja bercorak pentakosta-kharismatik. Tulisan ini merupakan sebuah penelusuran historis dalam Alkitab mengenai penggunaan musik dalam ibadah sebagai media penyembuhan. Peneliti sebagai salah seorang penggiat musik dalam gereja memberikan penilaian bahwa suara yang dihasilkan oleh alat musik dalam rangkaian pujian maupun penyembahan dalam ibadah mempengaruhi kesejahteraan jemaat. Jenis penelitian yang digunakan adalah penelitian deskriptif, dengan menggunakan pendekatan kualitatif. Peneliti menyimpulkan bahwa penyembuhan musik adalah nyata dan jauh dari spekulasi. Mengandalkan dasar alkitabiah musik sebagai media terapi, peneliti mengungkapkan bahwa musik berpotensi terhadap fungsi terapi dalam ibadah.
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Wulandari, Tanty Sri, Mukhlis Aliyudin, and Ratna Dewi. "Musik sebagai Media Dakwah." Tabligh: Jurnal Komunikasi dan Penyiaran Islam 4, no. 4 (December 31, 2019): 448–66. http://dx.doi.org/10.15575/tabligh.v4i4.1089.
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ABSTRACK
This paper aims to find out how Muhammadiyah views on music, how the preaching massages contained in the song Sabyan Gambus an how the Muhammadiyah Autonomous Organization’s “IMM” views about Islamic-themed songs from Sabyan Gambus. The research method uses descriptive qualitative approach, the descriptive method explains in detail the fact obtained from the field about the view of “IMM” about music in general, specifically about music as a propaganda media. The result showed that Muhammadiayah’s view of music is permissible depending on how it is used as the music media that is allowed to preach. In the Sabyan Gambus song, there is a 25% massage in the song entitled Ya Maulana, a 50% Ahlak massage in a song called El Oum and Syukronlillah an a Sharia massage a much as 25% in a song called Allahumalabaikh. Muhammadiyah’s views especially IMM toward Sabyan Gambus mostly agreed on the way preached through music media, not only as entertainment but also as preaching activities.
Keywords: Music, Da’wah Media, Muhammadiyah’s views, Muhammadiyah’s “IMM” Autonomuos Organization
ABSTRAK
Tulisan ini bertujuan untuk mengetahui bagaimana pandangan Muhammadiyah terhadap music, bagaimana pesan dakwah yang terkandung dalam lagu Sabyan Gambus dan bagaimana pandangan Organisasi Otonom Muhammadiyah “IMM” mengenai lagu-lagu bertema Islam dari Sabyan Gambus. Metode penelitian menggunakan metode pendekatan deskriptif bersifat kualitatif, Dalam metode deskriptif menjelaskan dengan mendetail fakta yang didapat dari lapangan tentang pandangan dari “IMM” mengenai music secara umum, khususnya tentang music sebagai media dakwah. Hasil penelitian menunjukan bahwa pandagan Muhammadiyah terhadap music adalah hal yang diperbolehkan tergantung bagaimana penggunaannya begitupun dengan media music yang diperbolehkan untuk berdakwah. Dalam lagu Sabyan Gambus terdapat pesan Akidah sebanyak 25% pada lagu yang berjudul Ya Maulana, pesan Ahlak sebanyak 50% pada lagu yang berjudul El Oum dan Syukronlillah serta pesan Syariah sebanyak 25% pada lagu yang berjudul Allahumalabaikh. Pandangan Muhammadiyah terutama IMM terhadap Sabyan Gambus kebanyakan menyetujui cara mereka berdakwah lewat media music, tidak sebagai hiburan semata tapi juga sebagai aktifitas berdakwah.
Kata Kunci : Musik; Media Dakwah; Pandangan Muhammadiyah; Organisasi Otonom Muhammadiyah “IMM”
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Andrew, Teguh Vicky, Riama Maslan Sihombing, and Hafiz Aziz Ahmad. "MUSIK, MEDIA, DAN KARYA : PERKEMBANGAN INFRASTRUKTUR MUSIK BAWAH TANAH (UNDERGROUND) DI BANDUNG (1967-1990)." Patanjala : Jurnal Penelitian Sejarah dan Budaya 9, no. 2 (September 16, 2017): 293. http://dx.doi.org/10.30959/patanjala.v9i2.18.
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AbstrakTren musik populer dari tahun ke tahun semakin mengguntungkan aliran musik bawah tanah (underground). Infrastruktur musik yang mandiri dan fleksibel, baik dalam tataran produksi, distribusi, dan konsumsi, menjadi kunci sukses aliran musik bawah tanah. Hal ini berlaku pula di Bandung. Namun pencapaian musik bawah tanah saat ini sebenarnya telah dirintis sejak 1970. Oleh karena itu, penelitian ini mencoba menelaah rintisan infrastruktur musik bawah tanah yang memiliki kontribusi bagi generasi sekarang. Untuk itu, penelitian ini dilakukan dengan menggunakan metode sejarah dengan pisau analisis skena musik dan musik bawah tanah. Berdasarkan telaah yang dilakukan, infrastrukstur musik yang dibangun pada periode 1967-1990 tidak saja terkait dengan aliran dan grup musik belaka, tetapi juga beragam media (cetak dan radio) dan album independen. Infrastruktur ini kemudian dijadikan model dan dikembangkan dalam sistem yang lebih kompleks sesuai dengan tren musik bawah tanah di Bandung.Kata kunci: skena, musik, bawah tanah, infrastruktur AbstractPopular music trend from year to year more prospering for underground music. Independent and flexibel musical infrastructure, in term of production, distribution, and consumption, becomes key success for underground music. This also applies in Bandung. However, the current achievement of underground music acctually was began since 1970. Therefore, this research tries to analyze infrastructure formation in underground music that has contributed for the current generation. For that reason, this research was conducted by using historical method with music scene and underground music concept. Based on the analysis, the musical infrastructure that built in 1967-1990, not only related to the genre and music grup, but also various media (print and radio) and independent album. The infrastructure subsequently became raw model and developed in more complex system in accordance with the underground music trend in Bandung.Keywords : scene, music, underground, infrastructure
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Brown, Andrew R. "Music, media and making: Humanising digital media in music education." International Journal of Music Education os-33, no. 1 (May 1999): 10–17. http://dx.doi.org/10.1177/025576149903300103.
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Wirandi, Rika, and Magfhirah Murni B. P. "FUNGSI MUSIK DALAM UPACARA PERAYAAN RITUAL THAIPUSAM ETNIS HINDU TAMIL DI BANDA ACEH." Gorga : Jurnal Seni Rupa 10, no. 2 (December 22, 2021): 415. http://dx.doi.org/10.24114/gr.v10i2.28379.
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Thaipusam is a celebration ceremony held sacredly in the form of a prayer ritual procession and the procession of the Lord Murugan statues which is held annually by the Tamil Hindu ethnic community in Banda Aceh. This ritual is held in the Thai month according to the Hindu Tamil calendar, as a form of respect for Lord Murugan for his victory in fighting evil. This celebration ceremony is also a place to fulfill vows and purify themselves for ritual participants - which is accompanied by the attraction of stabbing sharp objects into certain body parts such as the tongue, lips, cheeks, forehead, back, and other body parts. This celebration ceremony includes percussion music at the time of the procession. In addition to having multiple functions in the context of the celebration ceremony, percussion ensemble music in the procession is also believed to have its own effect on ritual participants. Religious songs and percussion music ensembles in the celebration ceremony at first glance do appear to be mere elements of ritual celebration. However, furthermore, the percussion music ensemble is considered to play a role in influencing the spirituality of the ritual performer to lead him to a state of stupor, to trance when performing body piercing attractions. The purpose of this study was to examine the function of music in the Thaipusam Ritual celebration ceremony as well as in influencing the spirituality level of the ritual participants. The research method used is a qualitative research method which is carried out in several stages, including: literature study and in-depth interviews. The approach used in this research is the theory of music function from Alan P. Merriam and the approach to music and trance proposed by Gilbert Rouget. The results of this study indicate that, at least there are four functions of music observed in this study, including: celebratory and entertainment functions; function of cultural expression; the function of legitimizing ritual ceremonies; and function of community group integrity. On the other hand, for ritual supporters – in this case the votive participants, music serves as a spiritual reinforcement for them in fulfilling their vows.Keywords: music function, thaipusam, Banda Aceh.AbstrakThaipusam adalah upacara perayaan yang diselenggarakan secara sakral dalam bentuk prosesi ritual doa dan prosesi araka-arakan arca Dewa Murugan yang diselenggarakan setiap tahun oleh masyarat etnis Hindu Tamil di Banda Aceh. Ritual ini dilangsungkan pada bulan Thai menurut kalender Hindu Tamil, sebagai bentuk penghormatan Dewa Murugan atas kemenangannya memerangi kejahatan. Upacara perayaan ini juga sebagai ajang untuk menunaikan nazar dan menyucikan diri bagi peserta ritual -- yang disertai atraksi menusukkan benda-benda tajam ke beberapa bagian tubuh tertentu seperti, lidah, bibir, pipi, dahi, punggung, serta bagian tubuh lainnya. Upacara perayaan ini menghadirikan permainan musik perkusi pada saat prosesi arak-arakan. Selain memiliki fungsi yang jamak dalam konteks upacara perayaannya, musik ensambel perkusi dalam arak-arakan juga diyakini memiliki efek tersendiri bagi peserta ritual. Nyanyian keagamaan dan ensambel musik perkusi dalam upacara perayaan tersebut secara sekilas memang tampak sebagai unsur pemeriah ritual semata. Namun, lebih jauh, ensambel musik perkusi tersebut dinilai berperan dalam memengaruhi spiritualitas pelaku ritual hingga mengantarnya ke pada kondisi kusyuk, hingga trance saat melakukan atraksi tindik tubuh. Tujuan penelitian ini untuk melihat fungsi musik dalam upacara perayaan Ritual Thaipusam serta dalam memengaruhi tingkat spiritualitas peserta ritual. Metode penelitian yang dipakai adalah metode penelitian kualitatif yang dilakukan dalam beberapa tahapan, di antaranya: studi literatur dan wawancara mendalam. Pendekatan yang digunakan dalam penelitian ini adalah teori fungsi musik dari Alan P. Merriam dan pendekatan tentang musik dan trance yang dikemukakan oleh Gilbert Rouget. Hasil penelitian ini menyatakan bahwa, setidaknya terdapat empat fungsi musik yang teramati dalam penelitian ini, di antaranya: fungsi pemeriah dan hiburan; fungsi ekspresi budaya; fungsi pengabsahan upacara ritual; dan fungsi integritas kelompok masyarakat. Di sisi lain, bagi pendukung ritual - dalam hal ini peserta nazar, musik berfungsi sebagai penguat spiritual mereka dalam menunaikan nazar.Kata Kunci: fungsi musik, thaipusam, Banda Aceh. Authors:Rika Wirandi : Institut Seni Budaya Indonesia AcehMaghfihrah Murni B. P. : Institut Seni Budaya Indonesia Aceh References:AcehKita. (2018). Perayaan Maha Puja Pengguni Uthiram, Umat Hindu Tamil di Aceh. YouTube. https://www.youtube.com/watch?v=q1rwc294NwA.Acehkini. (2019). Prosesi Arakarakan. YouTube. Acehkini.id/https://www.youtube.com/watch?v=plj926dKupo.Ananda, Ferdian. (2016). Uthiram Pangguni Celebration in Aceh. YouTube. https://www.youtube.com/watch?v=L77hKkVZ7xA.Dwi, N. (2019). Festival Thaipusam Sebagai Daya Tarik Wisata di Batu Caves Malaysia.Karnaen, Y. (2017). Analisis Tari Bharatanatyam dan Musik Iringan pada Upacara Thaipusam Masyarakat Tamil di Kota Binjai.Merriam, A. P., & Merriam, V. (1964). The Anthropology of Music. Evanston: Northwestern University Press.Mogot, Y. (2019). Aktivitas Komunikasi Masyarakat Hindu Tamil Dalam Upacara Thaipusam Di Singapura. Jurnal Common, 3(2), 216–228.Moleong, L. J. (2007). Metodologi Penelitian Kualitatif Edisi Revisi. Bandung : PT Remaja Rosdakarya.Riyaf, A., & Hasanah, N. (2016). Anthropos: Jurnal Antropologi Sosial dan Budaya. Anthropos, 2(1), 46–61.Rouget, G. (1985). Music and Trance: A Theory of the Relations Between Music and Possession. Chicago: University of Chicago Press.Wirandi, Rika. (2020). “Vel yang Terdapat pada Kuil Pelani Andawer”. Hasil Dokumentasi Pribadi: 09 Juni 2020, Banda Aceh.
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Aglaia, Rachman Rigga, and Nur Maghfirah Aesthetika. "Peran media baru terhadap gelaran konser musik di era pandemi Covid-19: Studi kasus Pamungkas "The Solipsism 0.2”." Satwika : Kajian Ilmu Budaya dan Perubahan Sosial 6, no. 1 (April 28, 2022): 13–22. http://dx.doi.org/10.22219/satwika.v6i1.19836.
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Budaya merupakan salah satu komponen perilaku manusia dan teknologi, menurut O’Brien dalam (Setiawan, 2013) Musik telah menjadi budaya dan bagian hidup dari masyarakat Indonesia namun adanya pandemi Covid-19 menghambat seluruh aktivitas masyarakat tidak terkecuali dunia musik. Banyak gelaran musik yang telah dipersiapkan berbulan-bulan jauhnya dan selalu ada setiap tahun terpaksa dibatalkan, namun dengan adanya perkembangan teknologi perubahan ruang kreativitas musisi Indonesia pun berubah. Dengan memanfaatkan berbagai media online seperti Instagram, Youtube, dan situs web, Pamungkas sukses dengan album barunya “Solipsism 0.2”. Pamungkas berhasil menarik lebih dari satu juta penonton dari konser musik daringnya. Penelitian ini bertujuan untuk mengetahui apa peran new media terhadap gelaran konser musik dalam era pandemi Covid-19 dan bagaimana peran new media dalam mengatasi gelaran konser musik online dengan studi kasus “Pamungkas : The Solipsism 0.2” sehingga kami berharap dengan adanya penelitian ini dapat memberikan gambaran bagaimana perkembangan media baru dan teknologi komunikasi dalam perkembangan musik di Indonesia. Penulis melakukan analisa kualitatif deskriptif dengan mengumpulkan data dan informasi sekunder melalui kajian pustaka. Hasil penelitian menunjukkan bahwa media baru memiliki peranan yang penting dalam gelaran konser musik terutama pada masa pandemi Covid-19 seperti saat ini karena keterbatasan yang ada. Kesimpulan yang kami hasilkan yaitu media baru dapat dimanfaatkan sebagai media utama yang dapat efisiensi dalam berkomunikasi. Culture is one component of human behavior and technology, according to O'Brien in (Setiawan, 2013) Music has become a culture and part of life for Indonesian people, but the Covid-19 pandemic has hampered all community activities, including the music world. Many musical events that have been prepared for months and always take place every year have had to be canceled, but with the development of technology, the creative space of Indonesian musicians has changed. By utilizing various online media such as Instagram, Youtube, and websites, Pamungkas was successful with his new album “Solipsism 0.2”. Pamungkas managed to attract more than one million viewers from its online music concerts. This study aims to find out what the role of new media in music concerts in the Covid-19 pandemic era and how the role of new media in overcoming online music concerts with the case study "The Ultimate: The Solipsism 0.2" so we hope that this research can provide an overview. how the development of new media and communication technology in the development of music in Indonesia. The author conducted a descriptive qualitative analysis by collecting secondary data and information through a literature review. The results of the study show that new media have an important role in holding music concerts, especially during the Covid-19 pandemic as it is today because of existing limitations. Our conclusion is that new media can be used as the main media for efficient communication.
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Kriswanto, Yanuarius Jefri. "PERAN MUSIK SEBAGAI MEDIA INTERVENSI DALAM LINGKUP PRAKTIK KLINIS." IKONIK : Jurnal Seni dan Desain 2, no. 2 (July 29, 2020): 81. http://dx.doi.org/10.51804/ijsd.v2i2.737.
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Banyak ahli dan pakar psikologi meneliti peran musik terhadap proses penyembuhan pada praktik klinis untuk berbagai macam penyakit. Dewasa ini musik dan elemen yang terkandung di dalamnya sering digunakan sebagai media intervensi selama proses penyembuhan medis berlangsung. Tujuan penelitian ini adalah untuk mengetahui sejauh mana musik dapat berperan sebagai media intervensi dalam praktik klinis. Metodologi yang digunakan dalam penelitian ini adalah studi pustaka dengan memanfaatkan jurnal online, buku serta disertasi. Hasilnya adalah musik sebagai media intervensi ternyata sangat membantu dalam pasien mengatasi rasa takut, cemas, dan nyeri baik sebelum, selama, dan setelah proses perawatan medis berlangsung. Lebih dari itu, Intervensi musik pada pasien terbukti dapat membangun rasa percaya diri serta memunculkan energi positif dari hasil pengalaman menyenangkan yang telah dialami sebelumnya. Hal ini tentunya sangat baik untuk memajukan kualitas hidup dan kesejahteraan psikologis pasien.Many experts and psychologists examine how big music is taking a role in the healing process in clinical practice for various diseases. Nowdays music and the elements contained in it are often used as a medium of intervention during the medical healing process. The purpose of this study is to determine the extent to which music can act as a medium of intervention in clinical practices. The methodology used in this research is literature approach by utilizing online journals, books, and dissertations. The result is music as an intervention media is very helpful in patients in order to overcome fear, anxiety, and pain both before, during, and after the medical treatment process. More than that, music intervention in patients is proven to build self-confidence and generate positive energy which are coming from their pleasant experiences they feel before. This is certainly very good for advancing the quality of life and psychological well-beeing of them.
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Nursyirwan, Nursyirwan, Delfi Enida, and Alfalah Alfalah. "KEANEKARAGAMAN BUDAYA SEBAGAI JATI DIRI KOMUNITAS TUALANG SIAK TERHADAP PERTUNJUKAN MUSIK KOMPANG." Gorga : Jurnal Seni Rupa 10, no. 1 (May 10, 2021): 107. http://dx.doi.org/10.24114/gr.v10i1.24873.
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Research on cultural diversity as the identity of Tualang people in playing kompang music, is the development of previous kompang music research. In finding the identity of tualang people must start things for themselves, certainly not easy in the discovery of that identity, as a characteristic of heterogeneous areas. The purpose of maintaining the existence of kompang music for the Tualang community as a binding solidarity of the community area. Data is collected through observation, field research, interviews, and documentation. Analyzed with qualitative descriptive techniques, interpretative analysis. Interviews were conducted by purposive sampling. The result of the study : the context of kompang music in Tualang community, namely at wedding celebrations, aqiqah, welcoming party for important guest, festival events and religious celebrations. Its exixtence is seen inthe development of kompang music area in Tualang area. The concept of kompang music is inseperable from the philosopihical background of various cultures, religions, and creativity of the community over the development of market taste. Creativity is not only the birth of music as an expression but is the result of the interaction of the players in it which gives bitrh to a variety of creativity in performance.Keywords: music, kompang, identity, multiculture.AbstrakPenelitian keanekaragaman budaya sebagai jati diri orang-orang Tualang dalam memainkan musik kompang, adalah pengembangan penelitian musik kompang sebelumnya. Dalam menemukan jati diri masyarakat Tualang harus memulai hal-hal untuk diri sendiri, tentu tidak mudah dalam penemuan jati diri itu, sebagai penciri khas daerah yang heterogen. Tujuan tetap mempertahankan keberadaan musik kompang bagi masyarakat Tualang sebagai pengikat solidaritas kedaerahan komunitas. Data dikumpulkan melalui observasi, penelitian lapangan, wawancara, dan dokumentasi. Dianalisis dengan teknik deskriptif kualitatif, analisis interpretatif. Wawancara dilakukan dengan cara purposive sampling. Hasil penelitian: konteks musik Kompang dalam masyarakat Tualang, yakni pada perayaan pernikahan, khitanan, aqikahan, penyambutan tamu penting, acara festival, perayaan agama. Eksistensinya terlihat pada perkembangan wilayah musik kompang di daerah Tualang. Konsep musik kompang tidak terlepas dari latar belakang filosofi bermacam budaya, agama, dan kreativitas masyarakat atas perkembangan selera pasar. Kreativitas tidak hanya pada pelahiran musik sebagai ekspresi akan tetapi merupakan hasil dari adanya interaksi pemain di dalamnya yang melahirkan variasi kreativitas dalam sebuah pertunjukan.Kata Kunci: musik, kompang, jati diri, multiculture.Authors:Nursyirwan : Institut Seni Indonesia PadangpanjangDelfi Enida : Institut Seni Indonesia PadangpanjangAlfalah : Institut Seni Indonesia PadangpanjangReferences:Armes, Hengki. (2015). Interaksi Sosial Dalam Kesenian Kompang Di Masyarakat Dusun Delik Kecamatan Bantan Kabupaten Bengkalis. Tesis tidak diterbitkan. Padangpanjang: Program Pascasarjana ISI Padangpanjang.Brannen, Julia. (2005). Memandu Metode Penelitian Kualitatif dan Kuantitatif. Samarinda: Pustaka Pelajar.Depdiknas. (2008). Kamus Besar Bahasa Indonesia. Jakarta: Gramedia Pustaka Utama.Enida, Delfi. (2019). “Notasi Pukulan Kompang”. Hasil Dokumentasi Pribadi: 7 Maret 2019, Kecamatan Tualang.Hadi, Y. Sumandiyo. (2012). Seni Pertunjukan dan Masyarakat Penonton. Yogyakarta: BP ISI Yogyakarta.Hatley, Barbara. (2014). Seni Pertunjukan Kontemporer di Jawa Tengah: Memanggungkan Identitas, Membangun Komunitas dalam Seni Pertunjukan Indonesia Pasca Orde Baru. Yogyakarta: Univ. Sanata Dharma.Hauser, Arnold. (1982). The Sosiology of Art. Terj. Kenneth J. Northcoot. Chicago and London: The University of Chicago Press.McHale, John. (1969). The Future of the Future. New York: George Braziller.Nettl, Bruno. (1964). Theory and Method in Ethnomusicology. London: The Free Press of Glencoe.Nursyirwan. (2019). “Bunyi Pukulan Kompang”. Hasil Dokumentasi Pribadi: 7 Maret 2019, Kecamatan Tualang.Nursyirwan. (2000). Paradima Musikologis Musik Kompang Di Kelakap Tujuh Dumai Barat. Laporan penelitian tidak diterbitkan. Padangpanjang: STSI Padangpanjang.Sari, Fani Dila, Haria Nanda Pratama, Indra Setiawan. (2020). Identifikasi Umah Adat Pitu Ruang sebagai Produk Kebudayaan Gayo. Studi Kasus: Umah Reje Baluntara Di Aceh Tengah. Gorga: Jurnal Seni Rupa, 09(2), 451-454. https://doi.org/10.24114/gr.v9i2.22116.Simatupang, Lono. (2013). Pergelaran sebuah Mozaik Penelitian Seni-Budaya. Yogyakarta: Jalasutra.Steijlen, Fridus. (2014). Pasar Malam Indo-Eropa: Identitas dan Pertunjukan Kebudayaan Di Belanda”, dalam Seni Pertunjukan Indonesia Pasca Orde Baru. Yogyakarta: Univ. Sanata Dharma. Suwardi MS. (2014). Dari Melayu ke Indonenesia. Yogyakarta: Pustaka Pelajar.Whitehead, Alfred North. (1929). Process and Reality. New York: Free Press.Wolf. R, Eric. (1983). Petani suatu Tinjauan Antropologis. Terjemahan TIM Yayasan Ilmu-Ilmu Sosial. Bandung: Rajawali.
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Thompson, Keith P. "Adolescents and Media Music." Update: Applications of Research in Music Education 12, no. 2 (April 1994): 9–15. http://dx.doi.org/10.1177/875512339401200202.
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Richards, Chris. "Popular Music Media Education." Discourse: Studies in the Cultural Politics of Education 16, no. 3 (December 1995): 317–30. http://dx.doi.org/10.1080/0159630950160303.
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Biley, Anna. "Music and media reviews." Spirituality and Health International 3, no. 3 (September 2002): 58–59. http://dx.doi.org/10.1002/shi.111.
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Biley, Anna. "Music and media reviews." Spirituality and Health International 3, no. 4 (December 2002): 62–63. http://dx.doi.org/10.1002/shi.131.
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Fraser, Bruce. "Music and media reviews." Spirituality and Health International 4, no. 1 (March 2003): 61–62. http://dx.doi.org/10.1002/shi.151.
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Fraser, Bruce. "Music and media reviews." Spirituality and Health International 4, no. 2 (June 2003): 52–53. http://dx.doi.org/10.1002/shi.163.
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Fraser, Bruce. "Music and media reviews." Spirituality and Health International 4, no. 3 (September 2003): 47–49. http://dx.doi.org/10.1002/shi.181.
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Fraser, Bruce. "Music and media reviews." Spirituality and Health International 4, no. 4 (December 2003): 52–54. http://dx.doi.org/10.1002/shi.201.
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Biley, Anna. "Music and media reviews." Spirituality and Health International 3, no. 2 (June 2002): 58–59. http://dx.doi.org/10.1002/shi.94.
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Dewan, Sanjeev, and Jui Ramaprasad. "Social Media, Traditional Media, and Music Sales." MIS Quarterly 38, no. 1 (January 1, 2014): 101–21. http://dx.doi.org/10.25300/misq/2014/38.1.05.
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Hutasoit, Daniel Walman, and Windy Dermawan. "Diplomasi Publik Pemerintah Kabupaten Samosir melalui Festival Samosir Music International 2018." Padjadjaran Journal of International Relations 1, no. 1 (June 17, 2019): 53. http://dx.doi.org/10.24198/padjir.v1i1.21592.
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The purpose of this article is to describe how public diplomacy is carried out by the Samosir Regency Government through the festival Samosir Music International 2018. The concepts used in this article are the three dimensions of public diplomacy by Joseph Nye; Soft Power; and Sub-Actors national in Public Diplomacy. This research used qualitative research methods. This research found that festival Samosir Music International 2018 had utilizied the role of mass media as a daily communication. In order to create more efficient and targeted communication, the Samosir Regency Government had conducted a series of events and the Indonesian music community as a strategic communication medium. In the end, the relationships between related actors, such as national and international music communities, artists, and media partners were the supporters of the creation of sustainable long-term Relationships. Artikel ini bertujuan mendeskripsikan diplomasi publik yang dilakukan Pemerintah Kabupetan Samosir melalui festival Samosir Music International 2018. Konsep yang digunakan ialah: tiga dimensi publik oleh Joseph Nye (Komunikasi Sehari-hari, Komunikasi Strategis, dan Pembangunan Hubungan Jangka Panjang), Soft Power, dan Aktor Sub-nasional dalam Diplomasi Publik. Artikel ini menggunakan metode kualitatif deskriptif. Artikel ini menemukan bahwa festival Samosir Music International tahun 2018 memanfaatkan peran media massa sebagai media komunikasi sehari-hari. Demi menciptakan komunikasi yang lebih efisien dan terarah, Pemerintah Kabupaten Samosir melakukan rangkaian acara dan para komunitas musik Indonesia sebagai media komunikasi strategis. Pada akhirnya, hubungan yang terjalin atara aktor-aktor terkait, seperti para komunitas musik nasional maupun internasional, artis, dan media partner yang menjadi pendukung terciptanya pembangunan hubungan jangka panjang yang berkesinambungan
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Farhan, Farhan. "Amar Munkar Nahi Ma’ruf: Studi Lirik Lagu Dangdut Koplo Jaran Goyang dan Parodinya." Al-I'lam: Jurnal Komunikasi dan Penyiaran Islam 3, no. 1 (September 25, 2019): 15. http://dx.doi.org/10.31764/jail.v1i2.1364.
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Abstrak:Tulisan ini mengkaji dinamika perkembangan musik dangdut koplo di Nusantara dalam perspektif dakwah dan komunikasi. Perkembangan Produksi music dangdut (koplo) semakin mendapatkan tempat dikalangan masyarakat kekinian. Didukung dengan Industri media musik yang semakin meningkat setiap tahun seiring perkembangan konvergensi media konvensional terkoneksi dengan new media (internet). Penciptaan lirik lagu dangdut koplo berjudul ‘jaran Goyang’ dan parodinya memiliki pengaruh cukup kuat dalam mengubah paradigma pendengar/penonton. Efek lirik lagu dangdut koplo ‘jaran goyang’ tidak hanya merubah pola berpikir dan berperilaku. Melalui paradigma Amar Ma’ruf Nahi Mungkar dan kajian media dengan pendekatan etnografi virtual di media sosial You tube, penelitian menyimpulkan bahwa lirik lagu dangdut koplo berjudul ‘jaran goyang’ mengandung pesan perilaku tidak terpuji (Amar ‘Munkar’) dan bertentangan dengan dokrin agama Islam. Sedangkan parodi lirik lagu ‘Jaran Goyang’ menunjukkan pesan-pesan kebenaran dan kebajikan selaras dengan ajaran Islam (Amar Ma’ruf), sekaligus merupakan praktik metode dakwah kekikian kepada objek dakwah dari komunitas pecinta musik. Tantangan pendakwah masa depan diperlukan kontinuitas massif dalam mensinergikan pesan-pesan dakwah dengan dinamisasi seni musik dangdut. Abstract:This paper examines the dynamics of the development of music dangdut koplo in Indonesia through perspective of da'wah and communication. The progress of production dangdut music (koplo) is increasingly gaining around today's society. Supported by the music media industry which is every year increasingly as the development of conventional media convergence is connected to the new media (internet). The creation of the lyrics of the song dangdut koplo entitled 'jaran Goyang' and its parody has quite a powerful influence in changing the listener / audience paradigm. The effect of the lyrics of the song dangdut koplo 'jaran goyang' not only changes the pattern of thinking and behaving. Through the Amar Ma'ruf Nahi Mungkar paradigm and media studies using a virtual ethnographic approach on social media You Tube, the study concluded that the lyrics of the song dangdut koplo titled 'jaran goyang' contain messages of dishonorable behavior (Amar 'Munkar') and are contrary to Islamic religious doctrine . Whereas the parody of the song 'Jaran Goyang' shows the messages of truth and virtue in harmony with the teachings of Islam (Amar Ma'ruf), as well as the practice of the method of preaching to the object of preaching from the music lovers community. The challenge of future preachers requires massive continuity in synergizing the messages of da'wah with the dynamics art of the dangdut music
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Sukmana, Dicky Indra, Robby Hidajat, and Tutut Pristiati. "Musisi Progressive Metal sebagai Pendorong Perkembangan Musik Djent di Kota Malang." JoLLA: Journal of Language, Literature, and Arts 2, no. 5 (May 24, 2022): 746–64. http://dx.doi.org/10.17977/um064v2i52022p746-764.
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Abstract: Djent music is music which has elements of groove and progressive metal. The creation of djent music is an innovative idea from previous metal music which in its development djent music can’t be separated from the influence of rock music, which is phenomenal in the world. This study aims to describe the development of djent music and the factors influence the development of djent music in Malang. The writing of this research was carried out using descriptive qualitative methods. Using data analysis in the form of interviews with sources. The resource persons in this study were Norman Duarte Tolle (35) as a djent music musician (C-four) in Malang, Aulia Rizky Fajar (24) as a djent music guitarist in Malang, Reynal Juliandi (27) as an observer and music guitarist djent music in Pasuruan, Fauzan Sanjaya (24) as a member of the loud music community (Undisputed), and Fajri Ramadahan (27) as a musician djent music (Ceara) in Jakarta. Observations are aimed at knowing the development of djent music in Malang based on a review of the C-four music group. The result of this research is that the existence of djent music can be seen through the music industry and internet media which play an important role in the development of djent music so that the genre is able to spread widely throughout the world, including in Indonesia and Malang especially. Keywords: development; djent music; musicians; Malang Abstrak: Musik djent merupakan musik yang memiliki unsur groove dan progressive metal. Terciptanya musik djent merupakan gagasan inovasi dari musik metal sebelumnya yang dimana dalam perkembangannya musik djent tidak terlepas dari pengaruh musik rock yang sangat fenomenal di dunia. Penelitian ini bertujuan untuk mendeskripsikan perkembangan musik djent dan faktor yang mempengaruhi perkembangan musik djent di Kota Malang. Penulisan penelitian ini dilakukan dengan menggunakan metode kualitatif yang bersifat deskriptif dengan analisis data berupa hasil wawancara dengan narasumber. Narasumber dalam penelitian ini ada Norman Duarte Tolle (35) sebagai musisi musik djent (C-Four) yang ada di Kota Malang, Aulia Rizky Fajar (24) sebagai gitaris musik djent di Kota Malang, Reynal Juliandi (27) sebagai pemerhati serta gitaris musik djent di pasuruan, Fauzan Sanjaya (24) Selaku anggota komunitas musik keras (Undisputed), dan Fajri Ramadhan (27) sebagai musisi musik djent (Ceara) di Jakarta. Observasi ditujukan untuk mengetahui perkembangan musik djent di Kota Malang berdasarkan tinjauan kelompok musik C-four. Hasil dari penelitian ini ialah bahwa eksistensi musik djent dapat dilihat melalui industri musik dan media internet yang sangat berperan penting bagi perkembangan musik djent sehingga genre tersebut mampu menyebar luas ke seluruh dunia, termasuk di Indonesia dan di Kota Malang. Kata kunci: perkembangan; musik djent; musisi; Malang
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Riis, Morten. "The Media Archaeological Repairman." Organised Sound 18, no. 3 (November 12, 2013): 255–65. http://dx.doi.org/10.1017/s1355771813000228.
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This paper investigates how a contemporary constructed mechanical musical instrument driven by a steam engine can be used as an instrument that brings new knowledge and understanding to rudimentary conditions regarding electronic music. The investigation takes its starting point in the media archaeological repairman that digs out the malfunctioning music machine and gives the material physicality a pivotal role, in contrast to the otherwise more symbolic understanding of electronic music that seems to be predominant. This alternative conceptualisation of electronic music focuses on rudimentary understandings of physical and symbolic framings of machine-based music, which are unfolded through the notion of operative technology, and brings new knowledge regarding key epistemological issues regarding timing, malfunction and operation within electronic and machine-based music.
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Ivanovic, Marija. "Savremeni mediji u nastavi muzike – didaktičke specifičnosti i potencijali." Zbornik radova, no. 21 (December 2019): 227–42. http://dx.doi.org/10.46793/zbradova21.227i.
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The paper discusses the phenomenon of modern media today, as well as the possibility of their application in education, with particular reference to the technologies and potential of the Internet, social networks and applications in teaching music and learning musical contents. There was talk about didactic specifics and potentials of modern media in teaching music and how they can be integrated into teaching music. The aim of the paper is to provide an overview of the modern media that can serve the development and improvement of the quality of music education.
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Pramudita, Okky. "ANALISIS EKONOMI POLITIK MEDIA MELALUI PERSPEKTIF KOMODIFIKASI BIG THREE INDUSTRI LABEL REKAMAN GLOBAL." J-IKA 9, no. 1 (April 21, 2022): 21–29. http://dx.doi.org/10.31294/kom.v9i1.12627.
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Perkembangan industri label rekaman sejak tahun 1800-an telah menciptakan standarisasi dalam musik populer dunia dan meningkatkan konsentrasi perusahaan. Perkembangan industri musik jenis ini tidak berdampak langsung terhadap budaya lokal atau dianggap imperialisme budaya. Tujuan penelitian ini adalah untuk mengkaji praktik dominasi Universal Music Group, Warner Music Group, dan Sony Music Entertainment atau yang dikenal the big three di industri label rekaman. Adapun penelitian ini dianalisis dengan menggunakan teori Ekonomi Politik Media serta Komodifikasi. Penelitian ini merupakan penelitian kualitatif dengan metode deskriptif secara utuh terkait dominasi big three di industri label rekaman global. Penelitian menunjukkan bahwa Big three, sebagai perusahaan label rekaman global, memiliki kapasitas untuk mempengaruhi sistem produksi dan distribusi yang berupaya mengubah nilai estetika musik menjadi nilai ekonomi atau nilai hanya untuk tujuan komersial. Selain komodifikasi konten, big three juga mengkomodifikasi karyawan dan musisi.
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Rakhmah, Syifa Nur, Lusa Indah Prahartiwi, Dea Kartika Aulia Arawi, and Izzudin Ijtara’a. "Web Edukasi Almusan (Alat Musik Ansambel) Untuk Media Pembelajaran Siswa SMP PGRI Babelan." Journal of Students‘ Research in Computer Science 2, no. 1 (May 25, 2021): 33–46. http://dx.doi.org/10.31599/jsrcs.v2i1.642.
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The art of music in learning arts and culture is conveyed by the medium of sound or tone, either the human voice or the sound of a musical instrument. One of the learning materials for the art of music is ensemble music. An ensemble is playing music together using several musical instruments and then playing a song with a simple arrangement. A good learning process is needed. Teachers and teachers of SMP PGRI Babelan experienced obstacles in the delivery of ensemble musical instrument material. Less effective learning media has an impact on students' understanding of the material. Therefore, an alternative solution for technological innovation is to create interactive website-based learning media to make learning easier. The almusan educational web is designed using images, videos, including musical instruments simulators that will make it easier for students and teachers to understand and understand compared to previous learning methods. With the existence of musical instruments, it virtually increases students' interest in learning ensemble musical instruments with the concept of theoretical and practical assessment.
Keywords: Ensemble, Learning Media, Educational Website
Abstrak
Seni musik dalam pembelajaran seni budaya di sampaikan dengan media suara atau nada, baik suara manusia atau suara alat musik. Salah satu materi pembelajaran seni musik yaitu musik ansambel. Ansambel adalah bermain musik secara bersama – sama dengan menggunakan beberapa alat musik dan kemudian memainkan lagu dengan aransemen yang sederhana. Proses pembelajaran yang baik sangat di butuhkan. Guru maupun pengajar SMP PGRI Babelan mengalami kendala terhadap penyampaian materi alat musik ansambel. Media pembelajaran yang kurang efektif berdampak kurang nya siswa memahami materi. Maka dari itu solusi alternatif inovasi teknologi yaitu menciptakan media pembelajaran berbasis website yang interaktif supaya memudahkan dalam pembalajaran. Web edukasi almusan dirancang dengan menggunakan gambar, video disertakan alat musik simulator yang akan memudahkan bagi siswa dan guru untuk mengerti dan memahami dibandingankan dengan metode pembelajaran sebelumnya. Dengan adanya alat musik secara virtual meningkatkan minat siswa untuk memepelajari alat musik ansambel dengan konsep penilian teori dan praktek.
Kata kunci: Ansambel, Media Pembelajaran, Web Edukasi
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Herdianto, Ferry, Yusnelli Yusnelli, and Freddy Antara. "KOMPOSISI MUSIK BADONDONG BAIBO DALAM MUSIK INSTRMENTAL." Gorga : Jurnal Seni Rupa 10, no. 1 (May 18, 2021): 115. http://dx.doi.org/10.24114/gr.v10i1.24912.
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The composition of instrumental and vocal music in this creation came from the art of badondong baibo and was developed into an instrumental music performance in the form of a musical composition with an orchestra format. The principle of the formulation of the creation of conventional music science. While the purpose of this creation is 1) to create badondong baibo art with different contexts and functions into modern music compositions and develop it using conventional techniques, 2) to realize musical ideas inspired by badondong baibo art and make it a new musical composition. . While the method of creation is carried out in three stages, namely; 1) data collection stage, 2) creation stage and 3) evaluation stage. This composition can be concluded that; a) creating musical compositions derived from regional arts has its own difficulties, where the creator must understand and explore the arts of the area, b) badondong is a new musical composition that is adapted from the melodies and vocals of badondong baibo in the Danto area of East Kampar district, c) the tone of the composition this music is a modified "nandung-nandung" melody without reducing the basic "nandung-nandung" melody, d) this badondong baibo vocal is sung by a vocalist to show the main theme in the creation of this musical composition, e) this composition is in the form of an orchestra format, f) This badondong is a musical composition with a lot of development, and is presented in the context of performing arts.Keywords: badondong, baibo, composition, music. AbstrakRumusan penciptaan komposisi ini diwujudkan dalam sebuah pertunjukan yaitu musik instrumental dan vokal yang mengangkat kesenian badondong baibo menjadi sebuah pertunjukan musik instrumental yang kreatif dan inovatif dalam bentuk komposisi musik dengan format orketra. Dimana rumusan penciptaan menggunakan prinsip-prinsip ilmu musik konvensional. Sedangkan tujuan penciptaan ini adalah 1) untuk menghadirkan kesenian badondong baibo dengan konteks dan fungsi yang berbeda ke dalam komposisi musik modern dan mengembangkannya dengan menggunakan teknik konvensional, 2) untuk merealisasikan ide musikal yang di inspirasi dari kesenian badondong baibo dan menjadikannya sebuah komposisi musik yang baru. Sedangkan metode penciptaan dilakukan dengan tiga tahap yaitu; 1) tahap pengumpulan data, 2) tahap penciptaan dan 3) tahap evaluasi. Secara aris besar kompisisi ini dapat disimpulkan bahwa; a) menggarap sebuah komposisi yang berangkat dari sebuah kesenian bukanlah perkara yang mudah, selain harus memahami, kita juga dituntut untuk mempelajari latar belakang dari kesenian tersebut, b) badondong adalah komposisi musik baru yang bersumber dari melodi vocal badondong baibo yang terdapat didaerah Danto kecamatan Kampar Timur, c) material komposisi ini adalah potongan-potongan melodi “nandung-nandung” yang dikembangkan dengan tidak menghilangkan nuasa melodi pokok “nandung-nandung”, d) vokal dari badondong baibo dibawakan oleh seorang vokalis untuk memperkenalkan tema pokok dalam penggarapan komposisi ini, e) komposisi digarap dengan format orkestra dalam sebuah pertunjukan seni, f) badondong ini adalah sebuah komposisi musik yang dicipatkan dengan menggunakan banyak pengembangan, dimana komposisi musik ini dihadirkan dalam konteks prtunjukan.Kata Kunci: badondong, baibo, komposisi, musik. Authors:Ferry Herdianto : Institut Seni Indonesia PadangpanjangYusnelli : Institut Seni Indonesia PadangpanjangFreddy Antara : Institut Seni Indonesia Padangpanjang References:Aziza, M. R., Soemardiono, B. (2013). Canon, Sebuah Teori Musik sebagai Tema Objek Rancang Sekolah Tinggi Seni Pertunjukan Indonesia. Jurnal Sains dan Seni Pomits. 2(2), __ _ __ .Amanriza, dkk. (1989). Koba Sastra Lisan Orang Riau. Pekanbaru: Dinas Kebudayaan dan Pariwisata Provinsi Riau.Baran, Stanley J. (2011). Pengantar Komunikasi Massa: Literasi Media dan Budaya, Edisi Kelima Buku Satu. Jakarta: Salemba Humanika.Banoe, Pono. (2003). Kamus Musik. Yogyakarta: Kanisius.Esten, M. (1990) Sastra Indonesia dan Tradisi Subkultur. Bandung: Angkasa.Lailia, D. R. (2016). Tinjauan Harmoni Pada Karya Musik “True Love Of Family”. Jurusan Pendidikan Sendratasik: Fakultas Bahasa dan Seni Universitas Negeri Surabaya.Jamalus. (1988). Pengajaran Musik Melalui Pengalaman Musik. Jakarta: Proyek Pengembangan Tenaga Kependidikan Direktorat Jendral Pendidikan Tinggi.Kusumawati, Heni. (2004). Komposisi Dasar. Yogyakarta: Fakultas Bahasa dan Seni. Universitas Negeri Yogyakarta.Herdianto, F. (2021). “Badondong Baibo”. Hasil Dokumentasi Pribadi. 2021, ISI Padangpanjang.Hutagalung, R. J. (2018). Klasifikasi Instrumen Musik pada Ensembel Musik Tradisional Batak Toba. Jurnal Christian Humaniora, 2(2), 114-126. https://doi.org/10.46965/jch.v2i2.92. Mahdayeni, M., Alhaddad, M. R., & Saleh, A. S. (2019). Manusia dan Kebudayaan (Manusia dan Sejarah Kebudayaan, Manusia dalam Keanekaragaman Budaya dan Peradaban, Manusia dan Sumber Penghidupan). Tadbir: Jurnal Manajemen Pendidikan Islam, 7(2), 154-165. https://doi.org/10.30603/tjmpi.v7i2.1125. Maran, Rafael Raga. (2007). Manusia dan Kebudayaan dalam Perspektif Ilmu Budaya Dasar. Jakarta: Rineka Cipta.Mudjilah, H. S. (2004). Teori Musik (Diktat Kuliah). Yogyakarta: Jurusan Sendratasik Program Studi Pendidikan Seni Musik, FBS-UNY Yogyakarta.Juita, N. (2015). Nilai-nilai Pendidikan Karakter dalam Pantun Badondong Masyarakat Desa Tanjung Bungo Kecamatan Kampar Timur Kabupaten Kampar. Bahasa, Sastra, dan Pembelajaran, 3(1). __ _ __ .Purnomo. (2018) Warisan Budaya Takbenda (WBTb) Hasil Penetapan Kemendikbud 2013 s.d. 2018 Untuk Wilayah Kerja BPNB Kepulauan Riau Provinsi Kepulauan Riau dan Riau. Riau: Balai Pelestarian Nilai Budaya Kepulauan Riau.Sahar, S. (2016). Merintis Jalan: Membangun Wacana Pendekatan Antropologi Islam. Jurnal Al Adyaan; Jurnal Sosial dan Agama, 1(02). __ _ __ .Syafiq, Muhammad. (2003). Ensiklopedia Musik Klasik. Yogyakarta: Adicita Karya Nusa.Sibarani, R. (2015). Pendekatan antropolinguistik terhadap kajian tradisi lisan. Retorika: Jurnal Ilmu Bahasa, 1(1), 1-17. https://doi.org/10.22225/jr.1.1.9.1-17.Sutami, Hermina. (2005). Ungkapan Fatis dalam Pelbagai Bahasa. Depok: Rumah Printing. Sumardjo, Jakob. (2000). Filsafat Seni, Penerbit ITB: Bandung.Wang, A. (2014, May). The Expression of Emotion and Feeling in Music Composition. In International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-14) (pp. 636-638). Atlantis Press.Turek, Ralp. (1988). Concepts and Application. New York: The University of Akron.Yohana, N., & Husmiwati, K. (2015). Kaidah interaksi komunikasi tradisi lisan basiacuang dalam adat perkawinan Melayu Kampar Riau. Jurnal Penelitian Komunikasi, 18(1), 43-56.
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Ardini, Ni Wayan. "Balinese Pop Music: An Industrialization Era." Journal of Music Science, Technology, and Industry 1, no. 1 (August 31, 2018): 129. http://dx.doi.org/10.31091/jomsti.v1i1.509.
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ABSTRACTBalinese pop music appeared in 1970’s but its industrialization refers to the development of the involved industries which began in 1990s. The industrialization is characterized by aspects of economy, technology, and new culture in music. All the aspects are related to each other. The economy can be seen in the growing capital in such a business. Technology is in the use of digital tecnology substituting the analog. New culture in music is shown in the more awareness of the Balinese people in enjoying Balinese pop songs. The Balinese are no longer shy singing such songs. This literature review uses techniques of qualitative data analysis. The result of the study shows that the industrialization consists of production, distribution, and consumption of the music. The production is created by the cultural power (musicians) and the capital power (capital owners). The distribution of the Balinese pop music in the current marketing is done by using the support of media power, particularly the electronic media, namely radio (since 1990s and even earlier), especially television (since 2002), in this case Bali TV. The production and distribution enables massive consumption in the Balinese society. The consumption is concerned with the existence of a new musical culture in the society. Although the industrialization tends to be capitalistic, Balinese artists or the musicians can earn their living through the Balinese pop songs. It is not a modern capitalism but postmodern one as the music relies on the existence of the Balinese society and their culture.Keywords: Balinese pop music, industrialization, production, distribution, consumption. ABSTRAKMusik pop Bali muncul pada tahun 1970-an tetapi industrialisasinya mengacu pada perkembangan industrial yang dimulai pada 1990-an. Industrialisasi ini dicirikan oleh aspek ekonomi, teknologi, dan budaya baru dalam musik. Semua aspek terkait satu sama lain. Perekonomian dapat dilihat dari pertumbuhan modal dalam bisnis semacam itu. Teknologi terlihat dalam penggunaan teknologi digital menggantikan yang analog. Budaya baru dalam musik ditampilkan dalam kesadaran yang lebih besar dari orang-orang Bali dalam menikmati lagu-lagu pop Bali. Orang Bali tidak lagi malu menyanyikan lagu-lagu seperti itu. Tinjauan kepustakaan ini menggunakan teknik analisis data kualitatif. Hasil penelitian menunjukkan bahwa industrialisasi musik pop Bali terdiri atas produksi, distribusi, dan konsumsi musik. Produksi diciptakan oleh kekuatan budaya (musisi) dan kekuatan modal (pemilik modal). Distribusi musik pop Bali dalam pemasaran saat ini dilakukan dengan menggunakan dukungan kekuatan media, khususnya media elektronik, yaitu radio (sejak 1990-an dan bahkan lebih awal), khususnya televisi (sejak 2002), dalam hal ini Bali TV. Produksi dan distribusi tersebut memungkinkan konsumsi musik pop Bali besar-besaran dalam masyarakat Bali. Konsumsi berkaitan dengan keberadaan budaya musik baru di masyarakat. Meskipun industrialisasi ini cenderung bersifat kapitalistik, seniman Bali atau musisi dapat mencari nafkah melalui lagu-lagu pop Bali. Ini bukan kapitalisme modern tetapi postmodern, yakni sebagai musik yang bergantung pada keberadaan masyarakat Bali dan budaya mereka.Kata kunci: music pop Bali, industrialisasi, produksi, distribusi, konsumsi.
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Dauncey, Hugh, and Chris Tinker. "Media and music in France." Contemporary French Civilization 36, no. 1-2 (January 2011): 1–4. http://dx.doi.org/10.3828/cfc.2011.1.
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Goertzen, Chris, Krister Malm, and Roger Wallis. "Media Policy and Music Activity." Notes 51, no. 4 (June 1995): 1347. http://dx.doi.org/10.2307/899142.
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Gligo, Niksa, and Simon Emmerson. "Music, Electronic Media and Culture." International Review of the Aesthetics and Sociology of Music 33, no. 2 (December 2002): 207. http://dx.doi.org/10.2307/4149780.
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Frohne–Hagemann, Isabelle. "Artistic Media and Music Therapy." Nordic Journal of Music Therapy 14, no. 2 (July 2005): 168–78. http://dx.doi.org/10.1080/08098130509478139.
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Albert, Daniel J. "Social Media in Music Education." Music Educators Journal 102, no. 2 (November 23, 2015): 31–38. http://dx.doi.org/10.1177/0027432115606976.
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Amanda, Rissa. "Music streaming dalam industri musik era industri 4.0." Jurnal Studi Komunikasi (Indonesian Journal of Communications Studies) 6, no. 1 (March 20, 2022): 358–82. http://dx.doi.org/10.25139/jsk.v6i1.3772.
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Industrial era 4.0 shows that all human activities will be connected and dominated by digital media. Creativity and new ideas to innovate technology are the keys of this era. For example in the music industry 4.0, which develops music streaming technology products, trying to attract a lot of millennials generation. In the context of Indonesia, Langit Musik as a local product competes with Spotify as an international product. Therefore, through this literature review-based research and interview with some of the participants in Whatsapp phone call, researchers want to see what kind of music streaming platform in the industrial era 4.0 make many peoples interested, especially the millennials generation in Indonesia. The results show that the use of Spotify in Indonesia is still more popular than Langit Musik, because for most of the Indonesian millennial generation Spotify is already suitable for the music streaming criteria they want. These include a diverse and global selection of songs, from old songs to the latest songs that are always up-to-date, have a simple and eye-catching display, easy to use, clear sound quality, have lyrics for karaoke, integrated with social media for status updates, have playlist personalisation feature, and no need to use large mobile data internet quota. However, Spotify and Langit Musik are still not able to attract their customers to switch from free to premium services, due to different needs and there are people who are still comfortable downloading songs illegally even though they already had music streaming. Spotify has become more popular than Langit Musik because of consumer trust in its quality, besides that personal promotion by word-of-mouth from the closest people and status updates on social media, which also support the expansion of Spotify's popularity.
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Meliala, Yos Horta, Rama Adipoetra, and Riana Murti. "Implementasi Digital Public Relations Pada Label Musik Demajors Dalam Mempublikasikan Album." DIALEKTIKA KOMUNIKA: Jurnal Kajian Komunikasi dan Pembangunan Daerah 8, no. 1 (April 30, 2020): 46–57. http://dx.doi.org/10.33592/dk.v8i1.555.
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Penelitian ini bertujuan untuk mengetahui Implementasi digital Public Relations pada label music Demajors dalam mempublikasikan album kepada khalayak. Metodologi dalam penelitian ini menggunakan konsep public relations, digital public relations dengan pendekatan kualitatif, paradigma yang digunakan post positivisme serta pengumpulan data menggunakan wawancara mendalam, studi kepustakaan dan dokumentasi. Sebagai label music independent Demajors dalam hal ini divisi Promotion & Media Relations berhasil menyampaikan pesan ke khalayak dengan menggunakan media sosial (new media) sehingga mampu bersaing dengan label mainstream. Kegiatan publikasi dilakukan dengan merujuk pada segmentasi musik yang sesuai dengan karakter musiknya. Hasilnya menunjukkan bahwa digital public relations menjadi tool yang tepat untuk mempublikasikan album kepada khlayak yang sekaligus menjadi pembeda dengan label musik independen yang ada di Indonesia.Kata Kunci: implementasi, digital public relations, demajors
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Putra, I. Pt Lukita Wiweka Nugraha. "Historical Aspects of Ketut Sumerjana’s “Yogyakarta Nyaman” (from Entertainment to Pre-Therapy Media)." Journal of Music Science, Technology, and Industry 2, no. 1 (January 15, 2019): 135. http://dx.doi.org/10.31091/jomsti.v2i1.609.
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In many music composition, history is often forgotten even though every music must be preceded by its historical events behind. Regarding such a problem, one form of music projects that is quite interesting for the author is “Yogyakarta Nyaman” (2011) created by musician and academician Ketut Sumerjana. It is a MIDI composition which then function as pre-therapy media. Based on that, the focus of this research is the historical aspects or background of “Yogyakarta Nyaman” both in the process of its creation and its functional shifting from profane thing (entertainment) to pre-therapy. This study uses a narrative qualitative method with data collection techniques in the form of interviews with primary informants. The results of the study show that the history or the background of the creation process of “Yogyakarta Nyaman” is as a description of the interpretation of the socio-cultural changes in Yogyakarta during the 1990s to 2000s, while the presence of subsonic and ultrasonic frequency components which became the background of the music has its own functional transformation to pre-therapy media. Dalam komposisi musik, sejarah seringkali terlupakan padahal setiap musik pasti didahului dengan peristiwa sejarah yang melatarbelakanginya. Terkait hal tersebut, salah satu musik yang cukup menarik perhatian bagi penulis adalah “Yogyakarta Nyaman” (2011) yang merupakan salah satu musik karya musisi sekaligus akademisi Ketut Sumerjana. Ini merupakan sebuah komposisi MIDI yang kemudian fungsinya sebagai media pra-terapi. Berdasarkan hal tersebut, maka fokus penelitian ini adalah mengenai aspek sejarah atau latar belakang musik “Yogyakarta Nyaman” baik dalam proses penciptaannya dan pergeseran fungsinya dari profan (hiburan) menuju pra-terapi. Penelitian ini menggunakan metode kualitatif naratif dengan teknik pengumpulan data berupa wawancara terhadap narasumber primer. Hasil penelitian menunjukkan bahwa musik “Yogyakarta Nyaman” secara aspek sejarah atau latar belakang proses penciptaannya merupakan deskripsi interpretasi mengenai perubahan sosio-kultur Yogyakarta tahun 1990-an menuju 2000-an sedangkan komponen frekuensi subsonik dan ultrasonik yang menjadi latar belakang karya ini mengalami transformasi fungsi menjadi media pra-terapi.
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Dewi, Pebrianti Kumala, and Ida Ayu Sukihana. "PENGATURAN PERUBAHAN GENRE MUSIK YANG DIUNGGAH MELALUI MEDIA SOSIAL BERDASARKAN UNDANG-UNDANG HAK CIPTA." Kertha Semaya : Journal Ilmu Hukum 9, no. 1 (December 30, 2020): 121. http://dx.doi.org/10.24843/ks.2020.v09.i01.p11.
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Studi ini bertujuan untuk menganalisa pengaturan perubahan genre musik yang diunggah melalui media sosial “berdasarkan Undang-undang Nomor 28 Tahun 2014 tentang Hak Cipta” serta untuk menganalisa dan memahami sanksi bagi pelaku yang pelanggar perubahan genre musik yang diunggah melalui media sosial. Penelitian yang digunakan yaitu dengan metode penelitian hukum normatif karena “menggunakan pendekatan perundang-undangan dan pendekatan konsep.” Kesimpulannya bahwa pengaturan tentang perubahan genre atau aliran musik belum secara tegas diatur pada Undang-Undang Nomor 28 Tahun 2014 Tentang Hak Cipta hanya dijelaskan, namun kegitatan mengaransemen suatu karya musik atau lagu ini terdapat dalam Undang-Undang Nomor 28 Tahun 2014 Tentang Hak Cipta yaitu dalam penjelasan Pasal 8 dan Pasal 9 serta sanksi bagi pelanggar yang mengubah genre music dan diunggah di sosial media ialah berupa sanksi pidana dan denda yang diatur dalam ketentuan Pasal 113 ayat 3 Undang-Undang Nomor 28 tahun 2018 Tentang Hak Cipta.
This study aims to analyze the regulation of changing music genres uploaded via social media "based on Law Number 28 of 2014 concerning Copyright" and to analyze and understand the sanctions for perpetrators who violate changes in music genres uploaded via social media. The research used is the normative legal research method because it "uses a statutory approach and a conceptual approach." The conclusion is that the regulation regarding changes in musical genres or genres has not been explicitly regulated in Law Number 28 of 2014 concerning Copyright is only explained, but the activities of arranging a musical work or song are contained in Law Number 28 of 2014 concerning Copyright, namely in the explanation of Article 8 and Article 9 as well as sanctions for violators who change the music genre and uploaded on social media are in the form of criminal sanctions and fines as regulated in the provisions of Article 113 paragraph 3 of Law Number 28 of 2018 concerning Copyright.
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Salim, Muhammad Nur. "KREATIVITAS RAHAYU SUPANGGAH PADA FILM OPERA JAWA KARYA GARIN NUGROHO." Acintya Jurnal Penelitian Seni Budaya 12, no. 2 (December 7, 2020): 158–69. http://dx.doi.org/10.33153/acy.v12i2.3580.
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ABSTRACT One of the developments in film in Indonesia is the musical genre film. This genre film experienced a post-reform high point when Sherina's Adventure Film came. This point then became the beginning of the development of musical genre films that were born in the 2000s period. One of the interesting musical films is the Javanese Opera Film by Garin Nugroho. Opera Jawa is interesting because first, Opera Jawa has received various awards and nominations at both national and international levels. Second, because this film bases its musical work on Javanese gamelan or gamelan media. This second reason is the focus of this research. The research "Rahayu Suanggah's Creativity in Garin Nugroho's Javanese Opera Film" is an attempt to reveal one of the film music creation methodologies based on her creative process with Javanese karawitan media (gamelan music). The musical concepts of the musical that were carried by Rahayu Supanggah as the music director was revealed through Rahayu Supanggah's conceptual approach in Bothekan Karawitan Garap's book (2007). The results of this study; Rahayu Supanggah uses Javanese musical nuances in composing Javanese Opera music by involving songs that are composed in various variations such as; 1) single tembang, 2) pathetan, 3) nothing, 4) palaran, and 5) arrangement of traditional pieces while the illustration music consists of 1) New Composition, 2) Illustration of Traditional Music, 3) Exploration Music. Keywords: Creativity, Music, Javanese Opera, Rahayu Supanggah ABSTRAK Perkembangan film di Indonesia salah satunya pernah diwarnai oleh film genre musikal. Film genre ini mengalami titik puncak pasca reformasi ketika Film Petualangan Sherina hadir. Titik tersebut kemudian menjadi awal perkembangan film genre musikal yang lahir pada periode tahun 2000-an. Salah satu film musikal yang menarik adalah Film Opera Jawa karya Garin Nugroho. Opera Jawa menarik karena pertama, Opera Jawa mendapatkan berbagai penghargaan dan nominasi tingkat nasional maupun internasional. Kedua, karena film ini mendasarkan garapan musikalnya dengan media gamelan Jawa atau karawitan. Alasan kedua inilah yang menjadi fokus pada penelitian ini.Penelitian “Kreativitas Rahayu Suanggah dalam Film Opera Jawa Karya Garin Nugroho” merupakan upaya mengungkap salah satu metodologi penciptaan musik film yang mendasarkan proses kreatifnya dengan media karawitan Jawa (musik gamelan). Konsep-konsep musikal karawitan yang diusung Rahayu Supanggah sebagai music director diungkap melalui pendekatan konsep garap-nya Rahayu Supanggah dalam buku Bothekan Karawitan Garap (2007). Hasil penelitian ini; Rahayu Supanggah menggunakan nuansa karawitan Jawa dalam menggarap musik Opera Jawa dengan melibatkan tembang yang digarap dalam berbagai variasi seperti; 1) tembang tunggal, 2) pathetan, 3) ada-ada, 4) palaran dan 5) aransemen gendhing tradisi sedangkan musik ilustrasi terdiri dari 1) Komposisi Baru, 2) Ilustrasi Gending Tradisi, 3) Musik Eksplorasi.Kata Kunci: Kreativitas, Musik, Opera Jawa, Rahayu Supanggah
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Bushong, D. J. "Good Music/Bad Music: Extant Literature on Popular Music Media and Antisocial Behavior." Music Therapy Perspectives 20, no. 2 (January 1, 2002): 69–79. http://dx.doi.org/10.1093/mtp/20.2.69.
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Perrone, Charles A. "Brazil." Popular Music 6, no. 2 (May 1987): 219–26. http://dx.doi.org/10.1017/s0261143000006000.
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With its blends of Amerindian, African and European sources, Brazil has one of the richest and most diverse musical cultures in the world. Primitive tribal musics flourish in the Amazon, rural and urban regions practise many folk/traditional forms, and cosmopolitan art music has been produced since before the time of Villa-Lobos. Various musics that can be considered popular reflect both this wide national spectrum and the impact of international mass media pop music. Here, a description of the major tendencies in contemporary urban popular music of Brazil will be followed by bibliographical and discographic indications for further study or research.
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KÄRJÄ, ANTTI-VILLE. "A prescribed alternative mainstream: popular music and canon formation." Popular Music 25, no. 1 (January 2006): 3–19. http://dx.doi.org/10.1017/s0261143005000711.
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This article applies the processes of canon formation suggested by Philip V. Bohlman in The Study of Folk Music in the Modern World to the historiography of popular music. Bohlman distinguishes between at least three different types of folk music canon: a small group canon, a mediated canon and an imagined canon. Adjusting Bohlman's ideas to the case of popular music, a reformulation is proposed in the form of an alternative canon, a mainstream canon, and a prescribed canon. The unstable power relations implied by the juxtaposition of different canons are considered, as well as the cumulative aspect of canon formation. The article also looks for each type of canon in the media through which historical knowledge is transmitted, and considers the tendency to narrate the historiography of marginal musics with more ephemeral media than the printed word.
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Werner, Ann. "Girls consuming music at home." European Journal of Cultural Studies 12, no. 3 (July 16, 2009): 269–84. http://dx.doi.org/10.1177/1367549409105364.
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During the past decades media technologies for producing and consuming popular music have gone through major changes. The digitalization of older media and so-called new media has transformed the landscape for music use. Technological developments in radio, television, the internet, computers, mobile phones and mp3 players shape the ways in which popular music is consumed today. This article examines two intersecting aspects of how today's media landscapes are interwoven into and shape teenage girls' uses of popular music. First, it argues that media technologies shape the girls' uses of music in the context of their everyday lives and the spaces they inhabit. Second, media technologies take part in the girls' practices of gender. For example, through their relations with their brothers and new media technology in the home, the girls are negotiating how to be 'girls', 'daughters' and 'sisters'.
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Al-anbiya, Dzulfikar, Aquarini Priyatna, and R. M. Mulyadi. "REPRESENTASI MUSIK SEBAGAI SEBUAH IDEOLOGI DI PESANTREN DALAM FILM BAIK-BAIK SAYANG." Patanjala : Jurnal Penelitian Sejarah dan Budaya 10, no. 3 (November 8, 2018): 403. http://dx.doi.org/10.30959/patanjala.v10i3.432.
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Artikel ini membahas musik di pesantren yang direpresentasikan sebagai sebuah ideology dalam film Baik-Baik Sayang.Perdebatan ideologi yang membolehkan dan melarang musik masih diperdebatkan di kalangan ulama dapat diargumentasikan sebagai manifestasi ideologi sebuah instansi pendidikan berbasis agama Islam tertentu. Perdebatan ideologi tersebut direpresentasikan dalam film Baik-Baik Sayang dengan mengangkat cerita perjalanan sebuah band musik bernama Wali yang dibentuk di Pesantren La Tansa. Penelitian ini menggunakan pendekatan kualitatif dengan konsep media representasi Stuart Hal dan kajian sinema. Penelitian ini menunjukkan bahwa film merepresentasikan musik sebagai ideologi secara biner. La Tansa dan Band Wali merupakan representasi ideologi yang membolehkan musik di pesantren. Ideologi yang berlawanan direpresentasikan melalui tokoh antagonis. Film juga merepresentasikan fenomena bentuk ideologi lain yang lebih negosiatif dalam sosok ayah Fa’ank.This article explains music within pesantren, which is represented as an ideology in the movie Baik-Baik Sayang. Ideological debates about legalizing and prohibiting music among Muslim theologian can be argued as ideology manifestation from certain Islamic educational institute. Those ideology debates are represented in movie Baik-Baik Sayang that tells the story about a music band called Wali, which is formed within pesantren La Tansa. This research uses qualitative approach using the concept of media representation proposed by Stuart Hall and cinema studies. This research shows that movie representing music as ideology binary. La Tansa and Band Wali are the representation of ideology that legalizing music within pesantren. The contradiction ideology is represented by an antagonistic role. This movie also representing another ideology form, which is more negotiable within Ayah Fa'ank role
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Lien, Joelle L. "Media Review: Exploring Research in Music Education and Music Therapy." Journal of Historical Research in Music Education 31, no. 1 (October 2009): 63–66. http://dx.doi.org/10.1177/153660060903100107.
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Saputri, Nur Amala. "Ekonomi Politik Media Dalam Industri Musik Digital Spotify." KOMUNIKA 4, no. 2 (December 27, 2021): 214–29. http://dx.doi.org/10.24042/komunika.v4i2.9406.
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Since the emergence of internet media, digital music was born which then marked as a change in the dominance of conventional recorded music. It is slowly and surely replacing the roles of conventional media, starting from the production process, distribution, to the level of music consumption. One of the most prominent music streaming platforms today is Spotify. In practice, the music streaming platform Spotify acts as a cultural industry that seeks to obscure people's real needs. This research uses a qualitative descriptive method based on a critical paradigm. With the aim of analyzing power relations in cultural practices that have been built by the digital music industry, either through the media or by the owners of capital through the perspective of the political economy of communication media. There are 2 main findings as a result of the study. First, there are 5 forms of digital music standardization that emerged because of the Spotify platform. Second, there are 2 forms of culture created from the relationship and identity of digital music actors, namely, the trend of soloist musicians or music by do it yourself, and bargaining power between musicians and music labels. In the end, Spotify is the party who benefits the most because it acts as a mediator who provides services or services for digital music streaming providers.
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EVPAK, EVGENIYA G. "HSE University’s “Media Sharks”: The Digital Music Record Label in a Classical University." Art and Science of Television 18, no. 2 (2022): 171–214. http://dx.doi.org/10.30628/1994-9529-2022-18.2-171-214.
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The article showcases the value aspects of a music record label in a classical higher education institution. In the article, I elicit specific features of conceptualizing and starting-up the main operational cycle with Media Sharks record label, which has been founded at the Faculty of Communications, Media and Design at the HSE University. I overview the managerial and technological processes that are related to the organization of the project operation at the start-up of digital music product release with the forthcoming perspective of turning the project into the main operation cycle. Digital music record label in a classical higher education institution is deemed to be an innovative direction in the media education in terms of project-type research activity of the young scholars learning media literacy and music management: it fosters realization of academic, industrial, and educational purposes, substantial for popularization of personal brands of campus residents in the context of permanent growth of the university’s image. The model of launching the record label suggested in the article has been experimentally tested between August, 2021, and February, 2022. Currently, Media Sharks label is at the turn between experimental operation and the main operation cycle. The students—residents of the label release and promote their music compositions, arrange concerts and hybrid-type performative fashion shows together with designers and music industry professionals.
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Syah, Teuku Giara Gaesaro, and Elda Franzia Jasjfi. "ANALISIS ILUSTRASI BARONG PADA MEDIA PROMOSI JAVA JAZZ 2015." Jurnal Dimensi DKV Seni Rupa dan Desain 2, no. 1 (April 1, 2017): 63–76. http://dx.doi.org/10.25105/jdd.v2i1.1878.
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AbstractThe development of music industry marked by the increasing number of the music event held nowadays. In terms of music festival that was held every year, the development of updates in social media which help publish those events. One of the biggest event held annually is Java Jazz Festival. Java Jazz Festival 2015 with the theme "Exploring Indonesia" with Barong Bali as it’s icon. Barong used as icon to represent the island of Bali that is full of culture and art. This theme became the purpose of the organizers who wanted to show Indonesian culture to international musicians. This paper explores the promotion media of Java Jazz Festival 2015 which used the barong illustrated in it. The method is visual element analysis. The result is that the Barong illustrated using vector techniques and using contemporary color tones. The successful existence of a brand cannot be separated from the company's success in communicating the culture and values of the company to the members of the organization. AbstrakPerkembangan industri musik saat ini ditandai dengan semakin banyaknya terselenggara acara musik. Ditinjau dari festival musik yang digelar setiap tahunnya, tidak luput dari perkembangan berita terkini di media sosial yang bantu mempublikasikan acara-acara tersebut. Salah satu event terbesar yang digelar setiap tahunnya yaitu Java Jazz Festival. Java Jazz Festival 2015 mengangkat tema “Exploring Indonesia” dengan Barong Bali sebagai ikonnya. Barong dijadikan ikon untuk merepresentasikan pulau Bali yang penuh dengan budaya dan seni. Tema ini menjadi maksud tujuan pihak penyelenggara yang ingin memperlihatkan budaya Indonesia kepada para musisi internasional. Makalah ini membahas media promosi Java Jazz Festival 2015 yaitu ilustrasi barong yang terdapat pada media promosi tersebut. Metode yang digunakan adalah analisis elemen visual. Hasil dari analisis adalah bahwa barong diilustrasikan dengan menggunakan teknik vektor dan menggunakan nada warna yang kekinian. Keberhasilan eksistensi suatu brand atau acara tidak dapat dipisahkan dari keberhasilan perusahaan dalam mengkomunikasikan budaya dan nilai-nilai yang dimiliki perusahaan kepada masyarakat.
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Arliyanti, Ayu Fitria, and Mochammad Usman Wafa. "Strategi Pembelajaran Ekstrakurikuler Musik Rebana di RA Nahdlatus Shibyan (Rans) Kabupaten Jepara." Pelataran Seni 5, no. 1 (March 17, 2020): 67. http://dx.doi.org/10.20527/jps.v5i1.7178.
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IntisariPenelitian ini bertujuan untuk mengetahui dan menganalisis stra-tegi pembelajaran ekstrakurikuler musik rebana di RA Nahdlatus Shibyan Kabupaten Jepara. Penelitian dilakukan secara deskriptif melalui pendekatan kualitatif. Pengumpulan data penelitian dilakukan melalui tiga teknik yaitu observasi, wawancara, dan dokumentasi. Teknik analisis data dan uji keabsahan data dilaku-kan dengan derajad kepercayaan dan triangulasi. Komponen-komponen pembelajaran yang diteliti adalah kompinen proses, materi, metode, media dan evaluasi pembelajaran yang dilakukan oleh pelatih musik rebana. Hasil penelitian ini menjelaskan bahwa strategi pembelajaran ekstrakurikuler musik rebana di RA Nahdla-tus Shibyan menggunakan strategi pembelajaran langsung dan strategi penerapan metode ceramah, demonstrasi, dan metode drill.Kata Kunci: strategi pembelajaran, metode pembelajaran, musik rebana AbstractThis study aims to identify and analyze the extracurricular learning strategies of rebana music in RA Nahdlatus Shibyan, Jepara Regency. The research was conducted descriptively through a qualitative approach. Research data collection was carried out through three techniques, namely observation, interviews and documentation. Data analysis techniques and data validity tests were carried out by means of degree of confidence and triangula-tion. The learning components studied were process components, materials, methods, media, and learning evaluations carried out by the rebana music trainer. The results of this study explain that the extracurricular learning strategy of reban music at RA Nahdlatus Shibyan uses direct learning strategies and teaching strategies of lecture, demonstration, and drill methods.Keywords: learning strategy, learning methods, reban music
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Boyd-Bennett, Harriet. "Media Opera/Opera’s Media: Elizabeth Kelly’s Losing Her Voice." Opera Quarterly 35, no. 3 (2019): 236–44. http://dx.doi.org/10.1093/oq/kbz023.
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Komlenić, Miroslav. "ROCK MUSIC, SUICIDE AND MEDIA INFLUENCE." MEDIA STUDIES AND APPLIED ETHICS 3, no. 1 (March 11, 2021): 23–33. http://dx.doi.org/10.46630/msae.1.2021.02.
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Suicide risk factors usually include: previous attempts, depression, comorbidity of alcohol consumption and drug abuse, gender (three to four times more suicides in men than in women), family history of psychiatric disorders, environmental and social factors such as periods of major social changes or movements: revolution, industrialization, secularization, migration, wars and the like. In this paper we should try to approach the problem by looking into the hypothesis of some researchers that rock music, or rock and hippie movements from the 60s to the end of the 80s of the 20th century, are included in these social risk factors, directly or indirectly. The arguments that the authors refer to are mainly: numerous suicides among both performers and listeners of rock music, many cases of emulated suicides of rock stars by fans, a large number of songs whose content speaks of suicide, evidence on the spot of suicide related to listening to such songs at the time of committing suicide, many lawsuits and trials against rock composers and performers by grieving relatives, etc. The aim of this paper is to analyze critically these facts as problematic for stating them as causes of suicide. Additionally, the paper aims to explain that for already predisposed, latent suicidal people, this type of music is only a mediator towards more intense socializing with similar listeners, indulging in latent suicide activities such as alcohol consumption and drug abuse and only subsequently to depression and suicide. Since suicide does not have to be associated with depression and the death drive, but on the contrary with the urge to live and the desire to be prominent, loved and remembered, the thesis that suicides of rock artists and supporters belong to this category should not be removed.