Harmonia 14.1 - Copy

Harmonia Journal of Arts Research and Education

p-ISSN 1411-5115e-ISSN 2355-3820

Editor-in-ChiefS. Suharto

(Semarang State University, Indonesia)

Co-EditorMohammad Hasan Bisri


Editorial BoardMalarsih

(Semarang State University, Indonesia)Udi Utomo

(Semarang State University, Indonesia)Hartono

(Semarang State University, Indonesia)Eny Kusuma

(Semarang State University, Indonesia)Wahyu Lestari

(Semarang State University, Indonesia)Yuliati


Editorial Assistant Irfanda Rizki Harmono Sejati

AdminitrationSiti Aesijah, Usrek Tani Utina,

Usman Wafa, Dewi Sartika, Shiva Fauziah, Yoris Adi Maretta

Editorial AdvisoryDieter Mack

(Lúbeck Music University, Germany)Melanye White Dixon

(The Ohio State University, USA)Dawn Bennett

(Curtin University, Australia)Nicholas Bannan

(The University of Western Australia, Australia)Ida Bagus Putra Yadnya

(Udayana University, Bali, Indonesia)Tuti Tarwiyah

(Jakarta State University, Indonesia)Diah Latifah

(Indonesia Edcucation University, Bandung, Indonesia)

Yuliawan Kasmanhidayat(Indonesia Edcucation University,

Bandung, Indonesia)Victor Ganap

(Yogyakarta Institute of Arts, Indonesia)Hermin Kusmayati

(Yogyakarta Institute of Arts, Indonesia)Hanggar Budi Prasetyo

(Yogyakarta Institute of Arts, Indonesia)Santoso

(Surakarta Institute of Arts, Indonesia)Rahayu Supanggah

(Surakarta Institute of Arts, Indonesia)M. Jazuli

(Semarang State University, Indonesia)Tjetjep Rohendi Rohidi

(Semarang State University, Indonesia)Totok Sumaryanto F.


HARMONIA: Journal of Arts Research and Education (ISSN printed version 1411-5115 & online version 2355-3820) is published since 2000. Publish twice a year in June and December. Aims and scope of the journal focus on the content of the article about art studies and art education.

Publisher: Department of Drama, Dance and Music, Faculty of Languages and Arts, Semarang State University in cooperations with Asosiasi Profesi Pendidik Sendratasik Indonesia (AP2SENI)/The Association of Profession for Indonesian Sendratasik Educators.

Offi ce: B2 Building 2nd Floor Sekaran Campus, Gunungpati, Semarang, Indonesia 50229.Telp./Fax: (024) 8508074. E-mail: [email protected]

Online e-journal: http://journal.unnes.ac.id/nju/index.php/harmoniaPermalink/DOI prefi x is: 10.15294

HARMONIA: Journal of Arts Research and Education has been abstracted and indexed by Directory of Open Access Journal (DOAJ), Google Scholar, Mendeley, Citeulike, Worldcat, Indonesia Publication Index (IPI/Portal Garuda), Indonesian Scientifi c Journal Database, CrossRef, JournalTOCs, and Sherpa/Romeo.

Harmonia Journal of Arts Research and EducationVolume 14, Number 1, June 2014

p-ISSN 1411-5115e-ISSN 2355-3820

TABLE OF CONTENTS Pages

1. Rijoq: Vocal Music of Dayak Benuaq from Kutai, East Kalimantan Ester, Agastya Rama Listya 1-7

2. The Philosophy of Puppet Characters Bathara in Murwakala Play for the Value of Leadership Ethics Wahyu Lestari 8-15

3. Signifi cant Infl uences of Violin Extra Curricular Achievement to Emotional Intelligence Nafi k Salafi yah 16-21

4. Developed Music Teaching Kit of PAKEM for Elementary School Music Learning Yoyok Yermiandhoko 22-27

5. The Improvement of Audio-Visual Based Dance Appreciation Learning Among Primary Teacher Education Students of Makassar State University Wahira 28-36

6. Reog As Means of Students’ Appreciation and Creation in Arts and Culture Based on The Local Wisdom Sri Ambarwangi 37-45

7. Arsis and Thesis: A Review of Two Elements of Rhythm in Non-Traditional Music Written by F. H. Smith Van Waesberghe D.J Sunarto 46-53

8. Music Education and Taste Forming of Classical Music Style: Case Study In Cultural Institutionkarta Pustaka Yogyakarta Indonesia Inggit Sitowati 54-64

9. The Lesung Music in The Village of Ledok Blora Regency Suharto & Siti Aesijah 65-71

FOREWORD

Since it was onlined in 2011, Journal of Harmonia has been accessed by thousands of visitors from all over the world. International index institutions, such as the Direc-tory of Open Access Journal (DOAJ), Google Scholar, Mendely, Citeulike, and Worldcat, have been making Harmonia as one of the journals linked there. Likewise, national in-dex institutions, such as the Indonesia Publication Index (IPI/Portal Garuda), Indone-sian Scientifi c Journal Database (ISJD) that make Harmonia a national indexed journal.

Based on the facts above, Harmonia needs to adjust while enhancing the quality and quantity to be more tangible to facilitate the readers and the authors of the article. The change of journal subtitle originally named Harmonia: Jurnal Pengetahuan dan Pe-mikiran Seni to become Harmonia: Journal of Arts Research and Education, with the entire contents of English articles from Volume 14 Number 1 in 2014 is an effort towards the dissemination of the content of Harmonia articles broadly. A manuscript writing guide is adjusted by using one of the standards of writing in the world of publication, namely the American Psychology Association (APA), though it is not entirely adopted. The addition of subtitles ‘education’ in the name of the journal affi rms that the scope of the journal focuses on the content of the article about art studies and education.

Our great appreciation to all the readers, writers and observers of art and art edu-cators who have been supporting the publication of Harmonia. The expectation is that the presence of Harmonia in a new edition can complete the art literature that can con-tribute to the development of the science of art and art education.

Greetings,

SuhartoEditor-in-Chief

1

RIJOQ: VOCAL MUSIC OF DAYAK BENUAQ FROM KUTAI, EAST KALIMANTAN

Ester*Agastya Rama Listya**

*Satya Wacana Christian University of Salatiga, IndonesiaE-mail: [email protected]

**Satya Wacana Christian University of Salatiga, IndonesiaE-mail: [email protected]

Received: June 2013. Accepted: Februari 2014. Published: Maret 2014

Abstract

Rijoq, a Dayak Benuaq vocal music, has been passed down from generation to generation through oral tradition for hundreds of years. When and how it was founded, developed and preserved in the Dayak community remains questionable. But according to some research done by scholars, Rijoq has its origin from Dayak Bawo, a tribe living in the borderlines between Central, South, and East Kalimantan. Rijoq is normally performed during festivities, such as: initiation, reconciliation, menugal (rice planting) and potong kerbau (buffalo slaughtering). Rijoq’s texts have very deep messages which are considered still relevant to today’s life context. On the one hand, it speaks about the horizontal relationship—human beings and their fellows, and human beings and its nature—; and on the other hand, the vertical relationship—human beings with their Creator. The primary concern of doing this research is to preserve Rijoq as written and recorded documents. So far, this research has been successful in notating and recording fi ve kinds of Rijoq, that is Peket Muat Bolupm (working together to build lives), Rijoq Patuk Ajer (advice), Rijoq Natal Tautn Bayuq (Christmas and New Year), Rijoq Isiq Asekng Sookng Bawe (the expression of a man’s feeling who is falling in love with a woman), and Rijoq Lati Tana Orekng Tepa (forests and lands are disappearing and gone). But this paper is not intended to discuss these fi ve kinds of Rijoq. Isiq Asekng Sookng Bawe is chosen as it is the oldest and the most diffi cult Rijoq among the rest.

© 2014 Sendratasik FBS UNNES

Keywords: Rijoq; Dayak Benuaq; Bekeleeu

HARMONIA : Journal of Arts Research and Education 14 (1) (2014): 1-7Available online at http://journal.unnes.ac.id/nju/index.php/harmoniaDOI: 10.15294/harmonia.v14i1.2784

p-ISSN 1411-5115e-ISSN 2355-3820

by some physical similarities. Ahmad Yu-nus concludes that Dayak Banuaq origina-ted from the borderlines between Central Sulawesi and Serawak, Malaysia (Yunus, 1992, p. 31). The Ahmad Yunus’ conclusi-on is supported by some similarities found in these two areas, particularly tools used for cultivating the fi eld, battling, hunting the animals, burying the dead bodies, and worshiping the souls of their ancestors.

In their original place, Dayak Be-nuaq was formerly called “Luangan”. Due to geographical situation and the pressure

INTRODUCTION

In general all Dayak tribes were the descendants of Chinese immigrants that emigrated from Yunnan in South China (Commans, 1987, p. 3-4). No wonder that some names such as Apui, Bi Lung and Kun Dung Ga which are very common in South China also used as Dayak’s names in East Kalimantan (Soemargono et. al, 1992, p. 12). Some scholars believe that Dayak Benuaq was a mixture between Malay, We-doide and Mongoloide, and characterized

HARMONIA : Journal of Arts Research and Education 14 (1) (2014): 1-72

brought by an Iban tribe from the Nort-hern area, Dayak Benuaq has been forced to move to East Kalimantan.In their new home place, they called themselves “Be-nuaq”, which possibly came from the word “Benuaqkn”, a name of their new place.

According to their belief, Benuaq is associated with Ningkah or Nyingkah Oloo, a fi gure of demigod (Dyson, 2008, p. 16-17). The descendants of Nyingkah Oloo spread from the riverside (close to Sama-rinda, South Kalimantan) to the upper course of Mahakam, a place known as Gu-nung Lipan (Centipede Mountain). On this mountain, Nyingkah Oloo built his home, a place where many poisonous centipedes were living (Dyson, 2008, p. 19-20).

Nyingkah Oloo was married to a Bugis woman, named Dayaang Beliaant. However the name of Tenggarong as the capital of Kutai palace did not come from the Bugis words “tangga arung” (king’s ladder), but from “wakaai engkaruukng” (Benuaq words meaning wooden root that is frequently used for a fi replace when the people are working together to build their new city). Benuaq people call Tenggarong with “tengkaruukng”.

RijoqDayak Benuaq sing their songs in the

social and the religious events. The texts of these songs are written in the high litera-ry language that only can be understood by the language experts. Every singer who wants to master the texts and the songs used in the religious events should go through a ritual process.

According to Septianus B., Dayak Benuaq’s songs are divided into two, that is sacred and secular. The sacred pieces are in the form of magic formula or sung sto-ry that only can be performed during the religious rites. Some kinds of secular pie-ces are: dodo (sung poetry or fairy tale), de-qug (poetry or fairy tale similar to dodo but sung in the faster tempo), loak (songs used during the kampong thanksgiving cere-mony), lengot (similar to loak but written in different rhythm and notation), and rijoq (a

traditional poetry that is sung during spe-cial or wedding ceremonies).

The History of RijoqNone of the Rijoq players know when

Rijoq was born, but they all are convinced that Rijoq has been passed down from ge-neration to generation for hundreds of years. F. Setianus B., Rijoq is truly convin-ced that Rijoq was originated from Dayak Bawo living in the borderlines between Central, South, and East Kalimantan (now is known as North Barito district). North Barito once was known as a tribe with high cultures and so much infl uenced by Hin-du. This tribe is well known as the crea-tor of noble literatures, such as metaphors, aphorism, fairy tales, and Rijoq.

According to the mythology, all jo-yful arts including Rijoq have its origin in bekeleu ceremony. This ceremony began with the victory of Tatau Mukng Batuqo-ver the Aput Pererawetn village. After the battle, Tatau Mukng Batuq got a serious illness although beliatn ceremony had been offered. One day, Tatau Mujaaq Tuhaaq, Batuq’s father, had a dream. In his dream, an old man with white hair telling him that Batuq’s illness was a result of nayuq’s and tiger’s curse. The spirit of nayuq and the tiger got mad at Tatau Mukng Batuq for not holding pesengkeet nayuq eremony as a thanksgiving over the victory he had achieved. This old man, then suggested Batuq’s father to hold a bekeleeu ceremony to expel the evil spirits that were sent by nayuq and the tiger (Madrah, 1997, p. 136).

Bekeleeu ceremony has marked the beginning of all joyful Dayak arts, inclu-ding Rijoq. It has become a strong reason why performing Rijoq during the times of sorrow will result in buhotn (struck down by death) (Irwanto, 2010, p. 63).

Dayak Benuaq has adopted a lot of Dayak Bawo literatures, e.g. rijoq and be-liatn ceremony. It was possible because Dayak Benuaq did a lot of travels to other Dayak kampongs. Another reason is Da-yak Benuaq lived side by side and intermi-xed with Dayak Bawo.

Ester & Agastya Rama Listya, Rijoq: Vocal Music Of Dayak Benuaq From Kutai, East ... 3

The Functions of RijoqRijoq is usually performed during jo-

yful ceremonies. It is fi rst an amusement for the performers itself, particularly du-ring menugal (sowing the rice seed), buffa-lo slaughtering, or when the women pre-paring the logistic for menugal (Irwanto, 2010, p. 63), or when the women picked up doyo leaves for making ulap doyo (piece of cloth made of leave doyo fi ber. The making process takes quite a long time because the fi bres should be separated fi rst from its leaves before drying and spun). Later, Ri-joq is also sung during the initiation, such as: birth, marriage, expelling calamity (na-litn tautn) and peace ceremonies (nuaak mi-kaat lait). Nalitn tautn is ceremony aims to expel the disaster caused by incest, so that the farmers may harvest rice.

The Lyrics and the Forms of RijoqRijoq is a speech literature—a kind of

literature that has been passed down from generation to generation through oral tra-dition, for instance, a traditional poetry—that is sung without any music accompani-ment. Therefore, a Rijoq singer is required to be able to show his/hermusical ability. In this present day, Rijoq is no longer an unaccompanied song, but it has been fur-nished with musical instruments such as: sapeq, guitar, drum set, synthesizer, sulking (a wooden fl ute that’s rarely found in the performances today). Its verse comprises of two couplets with each line ends with a rhyme. Its texts speak about the rela-tionships between human beings and its Creator, human beings with their fellows, and human beings with its nature. At the beginning Rijoq was written in an archaic Benuaq language, but later to adjust to the situation, Rijoq’s texts use modern langu-age.

Rijoq is sung by one singer or two al-ternates. Rijoq has a unique ornament that usually placed on the syllables that are located at the beginning or in the middle, and never in the end of a song phrase. The main feature of Rijoq is the absence of ref-rain. It has a lyrical melody, tempo which is relatively constant throughout the song,

and quite a complicated rhythmic pattern. The skill of the singers will determine the complexities of its Rijoq’s rhythmic pat-tern. In the other word, the more skilful the singer, the more complicated the Rijoq’s rhythmic pattern will be.

Rijoq Isiq Asekng Sookng Bawe (The expres-sion of a man who is falling in love with a woman)

Rijoq Isiq Asekng Sookng Bawe has three motives (fi gures 1, 2, and 3) and all texts are set in the strophic form.

Figure 1. Rhythmic Motive 1 Rijoq Isiq Asekng Sookng Bawe



Rijoq Isiq Asekng Sookng Bawe is also decorated with some ornaments which in Western notation similar to acciaccatura, trill, and slide (fi gure 4). Isik Asekng Sook-ng Bawe is considered as an old Rijoq and demands high skills of its performers. This Rijoq is performed without any accompani-ment so singer’s creativity and musicality are required.

Figure 4. Rijoq Isiq Asekng Sookng Bawe’s orna-ments

Rijoq Isiq Asekng Sookng Bawe is a tra-ditional poetry consisting of six stanzas. Each stanza has six lines with the rhyme orders as follow: a – a – a and a – b – b. The


sentence dodoi dinang ayoq sayang which does not have any meaning is added to complement the existing melody. Its texts talk about the love between a man and a woman. This Rijoq may be performed by male and female singers as a responsorial.

The message of this Rijoq: love rela-tionship is a holy one and it is not mere-ly about sexual relationship. Every Dayak person should understand the true mea-ning of love and should fi nd his/her part-ner seriously.

Empit incatn mungih ori

Kakatn mungih manan langit akuq lilikng langitDodoi dinang ayo sayang langit akuq lilikng lan-git Kami kemkepm mungih kami Elokng mungih bungaq kami akuq kemkepm lei kamiDodoi dinang ayoq sayang kami kemkepm lei kami

Empit incatn mungih oriOroq mungih manan langit kuq lilikng lei langitDodoi dinang ayoq sayang langit akuq lilikng langit

Kami kemkepm mungih kamiItuq mungih bungaq kami akuq kemkepm lei kamiDodoi dinang ayoq sayang kami akuq kemkepm kamiEmpit incatn mungih lewekng

Epuq mungih manan langit akuq lilikng langitDodoi dinang ayoq sayang langit akuq lilikng lei langitAsekng kemkepm mungih asekngElokng mungih bungaq kami asekng akuq kemkepm lei asekngDodoi dinang ayoq sayang asekng

Empit incatn mungih lewekngOroq mungih manan langit akuq lilikng lei langitDodoi dinang ayoq sayang langit akuq lilikng langitAsekng kemkepm mungih asekngElokng mungih bungaq kami asekng akuq kemkepm lei asekng

Dodoi dinang ayoq sayang asekng

Ayo butuq mungih umaqAmen mungin bungaq konaq akug masengkonaqDodoi dinang ayoq sayang konaq akuq MasengkonaqRuku bere mungih rukuAyoq mungih alukng ruku akuq bere lei rukuDodoi dinang ayoq sayang akuq bere lei ruku

Ayo botuq mungih suru

Aweq lekaq nyalaq akuq nentakng lei nyalaqDodoi dinang ayoq sayang nyalaq akuq nentakng lei nyalaqRuku bere mungih rukuUhatn mungih olukng ruku akuq bere lei rukuDodoi dinang ayoq sayang ruku akuq bere ruku

Meaning:A sparrow perches on a house postI wish to wander around the skyI wish to wander around the skyHolding hands togetherTo fi nd the fl owers to hold onTo fi nd a girl to marry

A sparrow perches on a house postTo walk far away circling around the skyTo walk far away to all destinationsHolding hands togetherThat is the fl ower to hold onThis is the girl that is ready to marry A sparrow perches on a ricewinnowHave travelled circling aroundthe skyHave travelled to all destinationsSweetheartTo fi nd the fl owerSweetheartTo fi nd a girl, my heart desireA sparrow perches on a rice WinnowTo walk far away circling around the skyTo walk far away to all


REFERENCES

Commans, M. (1987). Manusia Dayak Da-hulu, Sekarang, Masa Depan. Jakarta: PT Gramedia.

Dyson, P.L. (2008). Sejarah Sendawar 2. Surabaya: Airlangga University Press.

Irwanto. (2010). Kesenian Rijoq: Fungsi dan Keberadaannya. Thesis. Surakarta: Master’s Degree at Postgraduate Program at Institut Seni Indonesia Surakarta.

Soemargono, K. et al. (1992). Profi l Propinsi Republik Indonesia-Kalimantan Timur. Jakarta: Yayasan Bhakti Wawasan Nusantara.

Madrah, T.D. (1997). Tempuutn: Mitos Day-ak Benuaq dan Tujung. Jakarta: Puspa Swara.

Yunus, A. (1992). Upacara Tradisional (Upa-cara Kematian) Daerah Kalimantan Timur. Jakarta: Depdikbud.

Interviews:Interview with F. Setianus B. on June 25,

2009. Interview with F. Setianus B. on August 8,

2011.

destinationsSweetheartTo fi nd the fl ower,SweetheartThis is the girl, my heart desireSweet potatoes in the fi eldIf the fl ower agreesIf the fl ower does not mindto meetCould we meet directly?Let us make a promise to meetSweet potatoes in the fi eld that has been burnedThere is nothing wrongThere is no need to feel shy and guiltyto meetWe are about to meetWe will meet immediately

CONCLUSION

The deep moral message of Rijoq’s texts is still considered relevant to today’s context. Rijoq Isiq Asekng Sookng Bawe is just an obvious example of how a hun-dred-year text could bring a strong mes-sage to today’s people who are ignoring the holiness of love. This research is just a beginning indeed. Many remain hidden and covered. Hopefully, this research will stimulate other researches which try to in-ventories and to preserve Rijoq as a comp-leted written document.


:

AppendixRijoq Isiq Asekng Sookng Bawe

8

THE PHILOSOPHY OF PUPPET CHARACTERS BATHARA IN MURWAKALA PLAY FOR THE VALUE OF LEADERSHIP

ETHICS

Wahyu LestariState University of Semarang, Sekaran Gunungpati, Semarang, Indonesia

E-mail: [email protected]

Received: August 2013. Accepted: Februari 2014. Published: Maret 2014

Abstract

The study aims to fi nd out the values of leadership ethics in Murwakala play. which is benefi cial to society in empowering the existence of the puppet. The position of puppeteers in Central Java is now farther away from the younger generation and society. The preferred method is through an objective method to fi nd out the design of performance according to contemporary tastes, as well as referring to the theory of structuralism in order to uncover the meaning of the textual and contextual performance. Method of observation, interview and documentation are also used, in order to get comprehensive data. The results showed the fi ndings of the ethics of leadership from the teachings of puppet plays Murwakala Asthabrata or eight teachings contained in nature into eight fi gures in the play, which synergized with the nature of the universe, such as the nature of clouds, rain, water, stars, moon, sun, fi re, ocean and earth. The fi ndings are collaborative performances Murwakala played in the new format, according to contemporary tastes, semi-theatrical performances. Another fi nding is souvenirs designs and culinary business run with team leadership ethics, to enhance the creative industry and economy, establish a relationship with buyers and affi liated institutions, with a supporting program of stakeholders.


Keywords: ethical values; leadership, puppets; Bathara; Murwakala.


p-ISSN 1411-5115e-ISSN 2355-3820

generations. But, the reality of the practi-ce indeed reversed, because there are not many people who appreciate the value-of the noble legacy of its ancestors, both the value of ideology, historical values, moral values, as well as other positive values. A signifi cant progress of information techno-logy and national electronic and mass (7 stations), urban aesthetic standards de-manded spectacle spectacular, glamorous, and slapstick as a joke - an urban setting - have been deliberate or not constitute a pressure into every corner of the country. After exclusion of rural areas served to the audience or the local arts began absorbed by the societies. The audience is reduced again due to two things (l) mass media at-

INTRODUCTION

Traditional arts, known as wayang kulit purwa, have been recognized as a world cultural arts, and have been awar-ded a recognition by the United Nations Educational Scientifi c and Cultural Orga-nization (UNESCO) on November 7, 2003 as a Masterpiece of the Oral and Intan-gible Heritage of Humanity. A recognition from the international world that the art of puppets viewed as a masterpiece of non-object culture as a heritage for all mankind (UNESCO, 2003, p. 2). That is the moral responsibility of the Government of Indo-nesia is quite heavy, which should conti-nue to submit to the cultural heritage for

Wahyu Lestari, The Philosophy of Puppet Characters Bathara in Murwakala Play ... 9

titude and broadcast attitude from big ci-ties which look down on urban local arts - as something backward, and deserve to be laughed at, (2) the attitude of leaders of social and religious art that label the regio-nal arts is not in accordance with religion and moral value. The classical arts are also under pressure, the disappearance aegis of the kingdoms of the past forced the art that grew in the palace looking for new spon-sors from the public, media and art edu-cation institutions funded by the govern-ment.

The theory developed is the aesthe-tics and ethics in the context of understan-ding the values of morality in the puppet (Suseno, 1991, p. 27-45). Of course, the thoughts are based on structural approa-ch that directly intersects with the social system as a multi-cultural situation of the current civilization (Sears, 1996, p. l2l-135). The expected result is the reconstructed product

On puppet show, for example in-volving the maker of puppets, puppet ac-cessories with themes of leadership, and souvenirs. This can not be removed with the handling of management as a model puppet show production in specifi c for-mats and marketing side (Silalahi, 1994, p. 161).

The Indonesian nation seems to need to overcome the various problems facing the nation today, ranging from political issues, economic, religious, social and cul-tural rights. Everywhere still encountered various confl icts, such as demonstrations and vandalism, and massive robbery (Metro TV, August 20, 2010), which caus-ed deaths and serious injuries, blasphemy, also addressed to the leaders of the count-ry. Citizens ask for justice, and fi rmness from the leaders. Natural disasters occur in all parts of Indonesia, which, if observed events appear in 26th, Tsunami, train colli-sion, until the Mount Merapi erupts, what does it mean? Meaning, 2 plus 6 equals 8 divided by 4 equals two, which could be interpreted heart and thought. Heart and thought must be balanced, cannot stand alone, meaning that what human beings

think about, which is realized in action, must also be internalized by the heart, in order to obtain a balance mentally and physically, and life becomes serene and peaceful, not to cause fl are in surroundings (Rustono, 2010, November 8, 2010). Natio-nal competitive grant research strategy is based on six national strategic fi elds that had been proclaimed by the President in 2008, and was developed by Direktorat Pen-elitian dan Pengabdian Masyarakat (DP2M) into l2 themes. Themes of Art and Cultu-re / Creative Industries (Art and Culture/Creative Industry) are one of the selected research themes under the title Understan-ding

Ethical Values Leadership puppet plays Murwakala: Dissemination and Implementation for the Society. The the-me proposed is consistent with what had been determined, because it was oriented in applied research and has a regional / national scale.

The inheritance of cultural values through the presentation of the arts is more directed to oral tradition, the more pressu-re it can be seen in the form of the deve-lopment of imaginative, refl ective, and dramatic, Burns (1973, p. 45-60) called the conventions of art that is attached directly to its form. Inheritance is really a matter that cannot be avoided in the modem era, such as the emergence of show variations that in accordance with the means and the context.

The research begins with literary re-search activities in particular Bathara from Murwakala puppet plays, then applied in the fi eld with the condition of the perfor-ming arts that have been collaborating. Afterward, the design of works of art is ar-ranged in an innovative format according to the demands of the audience, that most-ly the younger generation.

Darnawi (1985, p. 32) points out that these values can be heard through the wise puppet fi gures and religious as well as from the utterances of Punokawan in puppet. The value has been attached to the individual interaction in a puppet life community. Values and the meaning of


life which became the paradigm of era ci-vilization (Timur, 2006, p. 174). The values of tenderness also appear in art, pointed to the tenderness of heart that is embodied in wise behaviour, which is a way of life which guarantees human dignity as the main human beings (Sardjono, 1995, p. 23)

Lestari (2009, i) revealed that ethical leadership of fi gure Bathara from Murwa-kala puppet plays, containing philosophi-cal values of life exemplifi ed by a variety of puppet characters in it such as: character of Bathara Teacher, Bathara Endra, Batha-ra Bayu, Bathara Yama, Bathara Aqni, Bat-hara Kala and Dalang Kandabuwana and puppeteer who each have characters that can be a good model for a leader.

Preserving and responsible to the cultural heritage of ancestors, continu-ally make great efforts in order to make puppets remain to be attracted to the younger generation. Therefore, in order to raise again the values of leadership to do with empowerment of the creative in-dustries of art craft as well as encouraging community economy, research needs to be done by building a theory, and the new format puppet shows to fi t the demands of the present generation.The Empowerment of the puppet masters who their current activity displaced by other forms of per-formance, bravely acting out puppet plays Murwakala. Encouraging the craftsman to collaborate each others in a performance event.

METHOD

The subjects of the research were so-ciety, the puppet masters and souvenirs craftsman. Society as individuals and as leaders should understand and emula-te the character of the puppet characters, who become Asthabrata tenet. The puppe-teers dare to act out Murwakala plays.

The research object is the puppet show plays Murwakala, that the charac-ters in the play are a symbol of leadership character.

The method used is an objective met-hod, namely a way that describes the re-

search as there are materials that are used as objects of research, namely Murwakala puppet plays.

The analysis used is an object of re-search forms. Description: (2) Universe in-cludes elements that affect the community social environment. Its form is the design and accommodation of the performance, namely the ruwatan ceremony with perfor-mance of leather puppet show Murwakala have been collaborating, in order to bring about a new shape or appearance, which involve players or characters that exist wit-hin the play, with the puppeteer and the audience. (2) Consisting of puppet spec-tators, participants of Ruwatan, or guests, arts observer organizations, who is invited to attend the show. (2) Artist or the players, and the characters in the play. (3) Trial Met-hod is used to determine whether the work result has fulfi lled the wishes and tastes of society. The effectiveness of trial method was determined by experts brought in the performance arts, performance arts obser-ver, performance art critics, cultural and arts practitioners of puppetry. The aim is to explore the input to the refi nement and improvement of the artwork design. (4) ocialization Method, is one way of intro-ducing the product of artwork design to the public, in accordance with the concept that has been implemented, through semi-nars that bring the relevant participants/stakeholders.

The steps are as follows.1. Arranging Murwakala puppet play sc-

ript.2. Composing musical singing of puppet

show3. Arranging staging draft, techniques

and procedures4. Exercises5. Text reading by puppeteer6. Appreciation of fi gures7. Joint exercises between the puppeteer

and the musical accompaniment8. Performance testing9. Evaluation10. Preparation of reports including docu-

mentation of testing.In order to realize the design that has


been prepared, it needs to do an observati-on both on the location of the show as well as the players involved in the show. Ob-servations of the location can be conducted either outdoor or indoor.

Trial method is also intended to de-termine whether the work design result has met thewishes of society, such as hold and offer ruwatan ceremony to the public, campuses, or tourismQ place, so there will be found input or refi nement and impro-vement of artworks in the future.

InterviewInterviews were conducted to the

informant such as puppet masters in the Central Java region, with samples taken from puppeteers in Semarang included Ki JokoEdan, and Ki Sayuti, KiSuprapto-no, from Surakarta Ki Suyanto, and from Yogyakarta Ki Timbul Hadi Prayitno. The results of observations were cross checked with the references as well as fi ndings rela-ted to literary form, observation and prac-tice in the fi eld related to the show.

DocumentationDocumentation was recording the

action of the Murwakala leather puppet show, and then translated it, both in each scene, as well as the characters within the play. The results of the translation, furt-her interpreted, thus found the values that exist in the show including the characters in it, like a fi gure of eight gods. This eight Gods character then so called HastaBra-tatenet, which is a guidance that can be inspired by everyone in his life, especially in the concept of leadership.

RESULTS AND DISCUSSION

The Design form of Murwakala Plays Designing the puppet show is not

making it up that the puppet is still a mainstay in the delivery of a certain ma-terial, expectedly to contribute to the ge-neral public about various things related to contemporary problems or issues of go-vernment programs and the wishes or ex-pectations of massive societies. The other

interests are giving the improvement of appreciation to the audience about the art of leather puppet Purwa which also con-veyed the content of the moral values of leadership represented by the presence of puppet characters who play in Murwaka-la, so that people can take lessons from the show, which be able to apply in daily life in the future.

The design objective is to create an alternative leather puppet show that is called Murwakala along with other buffer. The result of designing performance be-comes a means of enlightenment, educati-on, and entertainment that focuses on the universal problems encountered in daily life. Without having to leave the grip of puppet show, the show was designed in collaboration with other art forms outside of the art of puppetry. Not excluding it will be included also all the sporting programs tailored to the unity of the whole chosen themes, so it is possible to involve the ot-her types of arts.

The design is as follows:1. The form of the puppet is leather

puppet carved in a simple fl at2. The characters involved in a puppet

show Murwakala3. The use of Javanese Gamelan with spe-

cial arrangement as musical accom-paniment in the show

4. At the end of the design is the presen-tation of the textbook which is ready to be staged by any puppeteer who is interested.

Procedures of DesignIn this section the activities started

by designing a variety of devices that have been planned to include:

The fi rst stage1. Plotting particular puppet character

played by human fi gures such as Kala Bathara fi gures, Derma Derma and UlamDermi, as well as JokoJatusmati fi gures, and the fi gures of puppeteer Kanda Buwana, provided approxima-tely l0 puppets.

2. Arranging the script which lately sta-


an authoritative fi gure of the leader in a community, and simple fi gures that can be played by another player who has been plotted or spontaneous players from the spectators.

4. Bathara Guru should go directly to the world to give examples of his leader-ship to people about how to dispel the existence of Kala.

5. The eight Gods, which in Javanese culture symbolized as so-called Ast-habrata tenet (8 behavior) eight cha-racters that can be inspired by people, from the eight Gods’ characters, which later, the element of number 8 (eight) synergized with eight elements of na-ture characters, including the nature of water, fi re, wind, moon, stars, oceans, clouds and sun, from the eight natural properties can be used as the teaching of leadership to the community, lea-dership inspired from nature could be a guidance for a good life. The presen-ce of Bathara Guru necessarily has to work hard to give enlightenment to the human the ways of dealing with problems of daily life. Of course, the desire of evil Bathara Kala, will take all Sukerta’s children will run smooth-ly because of the existence of Bathara Kala, through this fi gure of Kandha-buwana puppeteer, the secret of the existence of Kala can be undermined by human beings. All elements of the Murwakala story plays is applied to the show structure combined with the form of arts outside the art of puppet-ry. The stage arrangement of Murwa-kala puppet plays can be seen in the scheme as follows.

Ethical Dimension of Murwakala Puppet Play

The results of study shows there were value of leadership ethics in Murwa-kala puppet plays, which emerged from the eight characters in the play. The rese-arch fi ndings are also supported by the Su-tarno opinion (2006, p. 50-119).

The fi nding that strengthens the eight God’s characters synergized with the con-

ged completely. The collaboration bet-ween the puppeteer who plays shadow puppet and dialogue with Murwakala played by the people.

3. Arranging music to accompany the show

4. Technique plan of puppet plays stage with Murwakala as the main fi gure

5. Socialized to the public, students, aca-demics and the puppet masters and ar-tists, the activity is assumed as Legen Tuesday night activity in UNNES, and had been held on November 8th, 2010.

The Second Stage1. The main fi gure of the stage basical-

ly contains the main idea that must be delivered through the fi gure’s trip, groups, and community. Then it is poured into the plot and scenes in the overall play. The basic idea of the Mur-wakala puppet play stage is like to give enlightenment and public information about the existence of the character, in Javanese culture, Bathara Kala is a symbol of catastrophe and misfortu-ne spreader. Up with the 21st century, such play related to sacred ceremonies are still performed, either in massive or individually.

2. The central themes of Murwakala puppet plays, is a comprehensive un-derstanding of the existence of Bathara Kala as a symbol of catastrophe that should be avoided by people. The spi-ritual value contained in the fi gure is a puppet of enlightenment for the audi-ence, as well as the concepts of leader-ship, such as how a person should be able to hold the promise that has been uttered, loyalty to the job.

3. Then the theme of leadership is poured into the structure of the presentation of puppet plays, so the source of the presentation based on the convention of Purwa shadow puppetry as can be found in the community. Furthermore, step by step, the story of Bathara Kala fl ow to the daily story by presenting public fi gures, such as community lea-ders, Kyai Ageng Buyut Wangken as


dition of the natural character that must be watched out and understood by the public. The value of leadership ethics can also be found from the Murwakala puppet play, one meaning of words can be seen is Murwa that means managing and Kala means time, so Murwakala mean show to respect the time, the respect of time is one key to success. Another key to success is if people could be disciplined, discipline starts from leading to himself and conti-nue to lead on a wider scale. The tenet of leadership can be explored through the puppet fi gures, which over the puppet characters, we would know its nature and character, which can be a good model in daily life. One of the tenets of Javanese cul-ture is called Asthabrata which is an ethics code of leadership, since the previous time till now, even when the future still remains

relevant to be learned and applied, and ob-served by anyone, who wants to have the soul of leadership, though he is not as a formal leader in an institution. Every indi-vidual is essentially a leader for himself/herself.

Astabrata tenet is not only learned through written literature, but also through art performance. In the art performance/show, the tenet is shown from the symbolic fi gures with leadership character. Leader-ship character is assembled from the eight gods’ character that is as representative of natural objects’ character

The lead character refers to the eight Gods’ character such as: the Endra God, the Surya God, the Bayu God, the Kuwe-ra God, the Baruna God, the Yama God, the Chandra God and the Brama God. The eighth character of the God is also synchro-

Notes:

1. Puppet box2. Puppet box lid 3. Kendhang batangan, ciblon

and bem4. Gender slendro pelog5. Slentem slendro pelog6. Finder7. Sither 8. Sither9. Kenong slendro pelog10. Demung I11. Demung II 12. Saron I13. Saron II14. Peking15. Bonang Barung and

Penerus, Slendo pelog 16. Gong

= Puppet Master

= Waranggana

Figure 1. The Stage Arrangement of Murwakala Puppet Place


nized or in line with the character of natu-ral objects such as: the nature of the earth, water or ocean, fi re, wind, sun, moon, stars, and cloud. According to communi-ty development, the nature or eight-Gods’ character that at fi rst became the leader’s characteristic only has been developed in general guidance for all people without any exception, is that one should be able to become the sun, capable as the moon, a star, the earth, water, could be a tree, could become wind, and capable of being cloud for others. The consequence is that if any of those characters are not owned, it will be handicapped for human.

The discussion of puppet show de-sign is not making it up that puppet is still a mainstay in the delivery of a certain ma-terial, with the hope to contribute to the general public about various things rela-ted to contemporary problems or issues of government programs as well as the wis-hes and expectations of the larger society. Other interests are enhancing audience’s appreciation to the art of shadow/leather puppet which conveys the message of lea-dership moral values represented by the presence of puppet characters that play in Murwakala, so that people can take les-sons from the show which can be applied in daily life.

CONCLUSION

The creation and design of Bathara from Murwakala puppet plays, the setting of the main fi gure tells about the events and issues of daily life. Reminding that the art of puppet show has a standard or reference, then the system in presenting Murwakala as the main fi gure cannot be abandoned. This means that elements such as puppet show setting, gamelan, singing, and main fi gure structures become a very important consideration.

The story of puppet play can be a me-ans for the puppeteer to convey thoughts, feelings and responses of an event that happened in the real world. For example, most of the puppeteer has to do, namely as an aspiration for development, so that

through the characters of puppet show, puppeteer addresses the issue of family planning, building construction, religi-on, advances in technology and ethics or aesthetics, according to his abilities and mastermind’s creation. Frequently, also various nuisance of environment is ma-nifested into Dolanan song, dialogue bet-ween characters, without bothering the puppet story structure presented.

The theme design of Murwakala sto-ry revolves around the events and issues of everyday life. Given the art of puppet show has a grip, then the system plays Murwakala presentation cannot be aban-doned. This means that elements such as setting buffer in the show of puppets, ga-melan, singing, and structures play a very important consideration.

The design of the Murwakala puppet play show is unlike traditional stage sets, this was done because the concept of the show was collaborated with other art forms, then the consideration of place and space arrangement of the stage is adju-sted with the aim of the show. Two barrel Slendro and Pelog of gamelan divided into two parts arranged in a row, right behind the puppeteer provided a space for theat-rical scenes, so that the arrangement requi-res more space than a traditional stage.

The Asthabrata tenet is not only learned through written literature, but also through the art performance show. In the show, the tenet is presented from symbolic fi gures with the lead character. It refers to the eight gods’ characters that constitute the eight characters of natural objects.

REFERENCES

-Bidney, D. (1967). “Myth, Symbolism and Truth”. Thomas Seboek (Ed.), Myth Simposium. Blomington and London: Indiana University Press.

-Cassirrer, E. (1965). An Essay on Man, An Introduction to a Philosophy of Human Culture. New York: New Haven.

-Kanthi, W. (1995). Wayang Kulit as Medium of Communication. Faculty of Com-munication University of Dr. Soeto-


mo, Surabaya.-Kasidi. (1998). Inovasi dan Transformasi

Wayang Kulit. Yogyakarta: Institute for Javanese Study

________. (2004). Teori Estetika Untuk Seni Pedalangan. ISI Yogyakarta: Lembaga Penelitian ISI Yogyakarta.

-Kayam, U. (2001). Kelir Tanpa Batas. Yog-yakarta: Gama Media.

-Kuntowijoyo. (1986). Budaya dan Masyara-kat. Yogyakarta: Tiara Wacana.

Lestari, W. (2009). Seni Pembebasan: Este-tika sebagai Media Penyadaran. Har-monia: Jurnal Pengetahuan dan Pemiki-ran Seni. 9 (1).

_______. (2009). Masalah Pengembangan Seni dan Industri Seni melalui Pendi-dikan Seni. Semarang: Cipta Prima Nusantara.

_______. (2009). Kepemimpinan Etis dalam Lakon Wayang Murwakala bagi Pemberdayaan Industri Kreatif sebagai Salah Satu Peningkatan Eko-nomi Kerakyatan, research report.

Unpublish. Jakarta: DP2M Jakarta.-Lorens, B. (1996). Kamus Filsafat, Jakarta:

Gramedia Pustaka Utama.Magnis-Suseno, F. (1987). Etika Dasar: Ma-

salah-masalah Pokok Filsafat Moral. Yo-gyakarta: Kanisius.

_______. (1991). Wayang dan Panggilan Ma-nusia, Jakarta: Gramedia Pustaka Utama.

_______. (1993). Etika Jawa, Jakarta: Grame-dia.

_______. (1993). Etika Jawa Sebuah Analisa Falsafi tentang Kebjaksanaan Hidiqa Jawa, Jakarta: Gramedia Pustaka Utama.

-Sajid, R.M. (1971). Bauwarna Wajang jilid 1. Surakarta: Penerbit Widia Duta.

Scheller, M. (1973). Formalism in Ethics and Non—Formal Ethics Values, Eramston: Northwestern University Press.

Suratno, P. (2006). Sang Pemimpin, menurut Asthabrata Wulang Reh Tripama Dasa Darma Raja. Yogyakarta: Adiwacana.

16

SIGNIFICANT INFLUENCES OF VIOLIN EXTRACURRICULAR ACHIEVEMENT TO EMOTIONAL INTELLIGENCE

Nafi k Salafi yahStudent of Postgraduate Program of Gajahmada University, Indonesia

Jln. Bulaksumur YogyakartaE-mail: nafi k.salafi [email protected]

Received: July 2013. Accepted: Februari 2014. Published: Maret 2014

Abstract

This research aims to fi nd out (1) whether there is an infl uence between student’s achievements of learning violin toward their emotional intelligence, (2) whether there is a correlation between student’s achievement of learning violin and their emotional intelligence, and (3) how much contribution of student’s achievement of learning violin to their emotional intelligence. It is a qualitative research which is defi ned as a research method based on positivism philosophy which is used to study particular sample and population. The sample and population are drawn randomly using research instruments to collect data, and the data are analyzed statistically. This aims to examine the hypothesis defi ned. The fi nding shows that there is a signifi cant infl uence between student’s achievement of learning violin and their emotional intelligence about 76.1%, while the rest of it 23.9% is infl uenced by other factors which are not studied in this research. It proves that learning violin infl uences student’s emotional intelligence very much and emotional intelligence is infl uential in increasing student’s achievement. From the data, it shows that most of the students participating in violin extracurricular are able to increase their learning achievement.


Keywords: achievement; violin; emotional intelligence


p-ISSN 1411-5115e-ISSN 2355-3820

Music can be affected in an academic fi eld through the forming of learning pattern, overcoming bored, avoiding a disturbing-external-noise. In addition, music makes us feel powerful, confi dent, reduce sor-row, erase anger, relieve stress, and reduce fear and worry. Music should introduce in the very beginning so it is able to stimuli a music genre that can develop the students’ intelligence, it is classical music which is played by using violin at extracurricular program.

The skills of reading a violin notation can improve the students’ understanding in terms of training their emotional intelli-gence. In practical, reading music notation means that the students have already had their loved-song-bank. Besides, they have

INTRODUCTION

One of the government’s efforts to educate the nations is by education. Edu-cation plays an important role to guaran-tee long life of the nation and the country. The constitutional foundation of education has been clearly stated in the Preamble of the 1945 Constitution of the Republic of In-donesia that one of the main goals of the Republic is to establish intelligent life of the nation. Thus, education is an effort to improve and develop the quality of human resources.

Music is important because it is a good thing, music is a part of life and one of human culture magnifi cent, by develo-ping the music the best of it will be gained.

Nafi k Salafi yah, Signifi cant Infl uences of Violin Extracurricular Achievement ... 17

to understand music elements that have been discussed through music theory, have sense and a strong enough rhythm. The students are able to read the rhythm pattern in the notation in which using mu-sic notation, and also they have to have a strong imagination of the tone, so that they can play the song with its tone, notation, and appropriate melody.

Some skills above can be gained to train the students’ emotional intelligence by playing or using the learning aids in a music extracurricular program at school, as the instrument is a violin because the students are easier to feel the song so the result will be better. In fact, while having a violin extracurricular program, the time is limited. In contrary, in learning violin through reading the notation needs a the-oretical understanding about music notati-on. For the time is limited so the students are supposed to study it at home to train their intelligence.

Learning will result some changes in a person. To fi nd out how far the changes are there must be an assessment. This kind of assessment to measure how far their achievement of learning is, called the re-sult of learning.

Learning process at school is one of complex and whole process. Many people argue that to get the highest achievement in terms of education, people should have high Intelligence Quotient (IQ), that in-telligence question (IQ) is a potential that will help the students to gain the optimal result. Winkel (1997) stated that the nature ofi ntelligence is the ability to state and de-fend one aim, to a just in terms of gaining the goal, and to do a self assessment criti-cally and objectively.

In fact, in teaching-learning process at school we often fi nd many students who could gain their achievement as equal as their intelligence. Some students have a high intelligence but on the other hand their achievement is relatively low. In contrary, there are some students who have relatively low intelligence but could achieve good achievements. Grade of in-telligence is not the only factor that deter-

mines a successful person. There are other factors that determine the case. Goleman (2002) argued, someone’s intelligence (IQ) only represents 20% of his/ her success, while the other 80% are presented by other factors such as, EQ. Emotional Quotient (EQ) is the ability to motivate his/ her-self, overcome frustration, control a desire, control mood, and the ability to cooperate with others.

An IQ learning process could not function well without any participation of the emotional sensestoward the lesson that is delivered. However, those two in-telligences will complete each other. The balance of IQ and EQ are the students’ successful key at school (Goleman, 2002). Education at school not only need to deve-lop rational intelligence, in which a model that is usually understood by students, but also emotional intelligence of the students.

The result of some researches in University of Vermont about analysis of the human brain neurology structure and behaviourshow that in a very important event in people’s life, EQ will come fi rst before rational intelligence. A good EQ can determine individual success in academic achievement to build a carrier, develop a harmonious relationship between hus-band and wife, and to reduce an aggressi-ve attitude of teenagers (Goleman, 2002).

It is undeniable fact that for those who have low IQ and mental backward-ness will be diffi cult, even they cannot fol-low their formal education for their age. However, in fact, a few people with high IQ has low educational achievement and vice versa.

The occurrence of the term emotional intelligence in education, for most people perhaps can be defi ned as the answer of the gaffe. Daniel Goleman according to his book defi ned a new defi nition of intelligen-ce. Although EQ is relatively a new thing compare to IQ, but some researches indica-ted that emotional question is also impor-tant to compare to IQ (Goleman, 2002).

Based on Goleman (2002), emotional intelligence is someone’s ability to manage his/ her emotional life and to keep the ap-


propriateness of emotion and its expressi-on through skills, self realization, self cont-rol, self motivation, empathy, and social skills.

Goleman (2002) stated that especial-ly for those who have high intelligences, they tend to be worry without any reason, too critical, fussy, introvert, and hard to express annoyance and anger appropriate-ly. If it is supported by a low emotional intelligence, so those people tend to be troublemakers. Parallel with the charac-teristics above so they tend to be seen as a hard person, unadaptable, insensitive with surrounding, diffi cult to trust anyone else, and tend to easily to give up if get stressed. In contrary to those who have a high IQ, those who have average IQ but have high intelligence.

Walgito (1993) divided some factors that infl uence the emotional intelligen-ce, those are: (1) internal factor, is a fac-tor within the individual that infl uences the emotional intelligence. This internal factory has two sources, physically and psychologically. In terms of physics, it means that physical factor and individual health. If someone’s physic and psycholo-gy are disturbed, perhaps it can infl uence his/ her emotional intelligence. Moreover, in terms of psychology, it consists of expe-rience, feeling, senses, thinking ability and motivation. (2) External factor including: (a) stimuli itself, the stimuli saturation is a factor that infl uences the success of so-meone in organizing his/ her intelligen-ce without distortion. (b) Environment or situation especially the one that becomes the background of the emotional intelli-gence process. Environmental object as the background of the situation is a unity that cannot be separated.

A school that held an orchestra extr-acurricular is SMP Domenico Savio, Sema-rang, so the researcher directly visited the school to make sure the news. In fact, it is true that at the school is held an orchestra program. Instruments that are played are violin, cello, piano, and classical guitar. The teaching-learning process is divided into different rooms depends on the instrument

used. However, even though the activities are held in different rooms, the material given is similar, with the same song title, that has been arranged before based on the agreement of the couches. At a particular time, they will play the instruments toget-her. In this case, the researcher was very interested in the teaching-learning process of the orchestra extracurricular program in SMP Domenico Savio Semarang especially the violin.

Trine (2007) stated that the result of the learning process is an attitude that is gained by the learner after having the learning process. The gained of the aspect depends on what they learn. Thus, when the learner learned about the concept, the change of attitude gained is the mastery of the concept. In terms of the learning pro-cess, the change of learner’s attitude that should be gained after having the learning activity can be formulated as the goal of learning. The formulation of learning aim is the result that is wanted by the learner, and it is rather complicated compare to the others aim because the aim of learning pro-cess cannot be measured directly. The aim of the learning process is a form of hope that is communicated through statement by showing the changes that is wanted by the learners after fi nishing the experience of learning.

What is meant by the result of lear-ning the violin is a result of maximum ef-fort in learning violin so that the learner gain a change from the phase that the lear-ner cannot play the violin into the phase that the learner can play the violin. It can be measured by using some indicators in-cluding reading rhythm and melody.

Extracurricular is an activity of lear-ning that is held outside of formal teach-ing-learning process, indoor or outdoor. This activity gives skills that are not inclu-ded in the curriculum. This activity is held to develop the students’ talent, interest, and creativity so it can produce a skillful person and independent in a case of art les-son especially music. This activity is one of a suggested activity because the conside-ration activity in which emphasize an ap-


preciation, limited time and the program to hold the show, needs a proper solution by holding the extracurricular program, and aim to develop and settle the students’ knowledge especially in a talent develop-ment, interest and skill to create art work, and having the characteristics of consisting the material given before.

This research aims to fi nd out (1) whether there is an infl uence between student’s achievements of learning vio-lin toward their emotional intelligence, (2) whether there is a correlation between student’s achievement of learning violin and their emotional intelligence, and (3) how much contribution of student’s achie-vement of learning violin to their emotio-nal intelligence.

The result of the research is hoped to give contribution to (1) teacher by hel-ping to improve the quality of the school and can be used as the reference for the te-achers who need it, (2) students by giving motivation to participate in an extracurri-cular activity and students are supposed to increase their motivation and learning achievement, (3) can be used as a medium for the school to improve the knowledge of the violin infl uence toward students’ in-telligence.

The result of learning violin is nee-ded to achieve emotional intelligence opti-mally. If someone is seriously and optimal-ly learn a violin so he/ she probably has an optimal emotional intelligence. Many the-ories have been argued by specialist about emotional intelligence, it can be assumed that there is a correlation, relation, and contribution of extracurricular learning re-sult of violin toward students’ emotional intelligence.

METHOD

Quantitative method can be defi ned as a research method that is based on po-sitivism, used to examine toward a popu-lation or certain samples. According to the aim of the research, this research is a cor-relation research which means a research that aim to fi nd out the relation among va-

riables that are examined (Arikunto, 2006). Correlational research is aimed to fi nd out the explanation of a problem. In this re-search, the aim is to fi nd the infl uence of extracurricular activity of learning violin toward students’ emotional question in Ju-nior High School (SMP) Domenico Savio, Semarang.

The collection of the data was done by using: (1) questionnaire technique. The questionnaire is sets of written questions used to gain information from the respon-dents in terms of their private life or their common knowledge (Arikunto, 2006). In this research, the researcher used Likert scale as the emotional intelligence. This emotional intelligence consists of an aspect of self emotional realization, self motivati-on, empathy, cooperation (Goleman, 2002) that are useful to measure how far is the emotional intelligence that is understood by the students of SMP Dominico Savio, Semarang. (2) The test method is questi-oned or rehearsal or another way used to measure the skills, intelligence, individual talent or group (Arikunto 2006). That test method is in the form practical tests that are used to fi nd out the ability of the stu-dents who join an extracurricular program of violin instrument in SMP Domenico Sa-vio, Semarang in terms of their mastery of violin instrument.

The analysis used to fi nd out the so-lution is divided into two, (1) regression analysis, (2) correlation analysis, and (3) determination analysis. The analysis used is by using percentage descriptive analysis and simple regression analysis.


The correlation between learning violin and emotional intelligence

Based on the analysis, the early hy-pothesis stated as “there is a correlation between learning violin and emotional in-telligence” is accepted. Thus, by accepting the hypothesis it can be inferred that there is a signifi cant correlation, it means that higher the result of learning violin, higher the emotional intelligence will be in SMP


ricular activity and emotional intelligence of violin in SMP Domenico Savio Sema-rang. According to the research analysis that Y = 62.852+1.052X1 means that the re-sult of learning (X) increases one point, so the emotional intelligence of the students who learn violin in SMP Domenico Savio Semarang will also increase (1.052) and vice versa. If the result of learning is lower one point, so the emotional intelligence of the students who learn violin in SMP Do-menico Savio Semarang will also decrease (1.052). The other 39% factors are the fac-tors that infl uence the result of learning violin. Those factors based on physical and physiological aspect. Physical aspect is an aspect that is infl uenced by body health of the individual. If someone’s physical and soundness are disturbed, perhaps it can in-fl uence the emotional process. Psychologi-cal aspect consists of experiences, feeling, ability to think, motivation, and environ-mental factor. Thus, the researcher invites the reader to do other research relates to those factors.

CONCLUSION

According to the result of the re-search and the discussion above, it can be conclude that: (1) there is a signifi cance in-fl uence between the result of violin extra-curricular and tje students’ emotinal intel-ligence in SMP Domenico Savio Semarang, (2) there is a signifi cance relation between violin extracurricular and the students’ emotinal intelligence in SMP Domenico Savio Semarang, and (3) the contribution given by the result of violin extracurricular toward students’emotional intelligence in SMP Domenico Savio Semarang is 76.1% and the rest 23.9% is infl uenced by another factors that are not taken into account in this research

It can be proven that learning a vio-lin is very iportant in giving an infl uence toward emotional intelligence and it is verry important in giving infl uence in in-creasing students’ achievement. By those evidences, the researcher suggests that al-most of the students are supposed to par-

Domenico Savio, Semarang.

The signifi cant infl uence of learning vio-lin toward emotional intelligence

Referring to the analysis above, from the calculation it can be seen that Y = 62.852 + 1.052X which means if a variable of vio-lin extracurricular program in SMP Dome-nico Savio Semarang is higher one point so the students’ emotional intelligence who learn violin in SMP Domenico Savio Sema-rang will be higher 1.052 point in constant point of 62.852. It shows that the increase of learning violin will give infl uence of the increase of emotional intelligence. Hence, learning violin can infl uence to emotional intelligence.

Contribution of learning violin toward emotional

Based on the analysis, it presents that the determination coeffi cient (r2 ) is equal 76,1%, which means that the emotional in-telligence is equal 76.1% that is determined by the result of learning violin, and the rest is determined by another factor that is not directly infl uenced to the research.

Emotional intelligence can be inc-reased by developing a high commitment of self development. Emotional intelligen-ce is a psychological ability in understan-ding and using emotional information. As an individual, we have a different ability in doing something since we were born and we can learn from our life the ways to make our emotional intelligence be better through practices and experiences. Howe-ver, the variable of violin extracurricular in SMP Domenico Savio Semarang gives signifi cance infl uence toward the students’ emotional intelligence that clearly can be seen from the data analysis tcount> ttable equal (7.579>2.00), and the simultaneous-ly contribution from variable of violin ex-tracurricular 7.61% in which it shows that violin extracurricular in SMP Domenico Savio Semarang has infl uence on students learning activity as many as 76.1%.

Based on regression coeffi cient that signs positive, it shows that there is a posi-tive relation between the result of extracur-


ticipate in violin extracurricular to develop their achievement in terms of academic. To gain the best result, the researcher sug-gests: (1) teacher should give motivation to the students who join and participate in violin extracurricular, (2) teacher should give reward for those who have high ac-hievements in the extracurricular activity, (3) school should hold a home concert so it will be easier to attract other students to participate in a violin extracurricular. Hence, by these activities can produce the students with good achievement.

REFERENCES

-Amstrong, T. (1993). 7 Kinds of Smart: Identifying and Developing your Intel-ligences. New York : Penguin Group.

-Amstrong, T. (1996). MI in the classroom. Virginia: Association for Supervi-sion and Curriculum Development.

Arikunto, S. (2006). Prosedur Penelitian: Suatu Pendekatan Praktik. Jakarta: Rineka Cipta.

-Campbell, L., Campbell, B., & Dickin-

son, D. (1996). Teachingand Learning through Intellegences. Massachusetts: Allyn and Bacon.

-Chaplin, J.P. (2005). Kamus Lengkap Psikolo-gi. New York: Dell Publishing Co.

-Gardner, H. (1993). Multiple Intelligences Translated: The Theory into Practice A Reader. New York: Basic books.

Goleman, D. (2002). Emotional Intelligence Translated. Jakarta: PT Gramedia Pustaka Utama.

-Last, J. (1980). Interpretation in Piano Study. New York: Oxford University Press.

-Musfi roh, T. (2008). Cerdas melalui Ber-main. Jakarta: PT. Grasindo.

-Soewito. (1999). Teknik Termudah Mengge-sek Biola. Jakarta: Titik Terang.

-Sugiyono. (2010). Metode Penelitian Pendi-dikan. Bandung: Alfabeta.

-Supratiknya, A. (2005). Psikologi Musik. Yogyakarta: Buku Baik.

-Triani, C. (2007). Psikologi Belajar. Sema-rang: UPT MKK UNNES.

Winkel. (1997). Strategi Pengajaran dan Evaluasi Belajar. Jakarta: Gramedia

22

DEVELOPED MUSIC TEACHING KIT OF PAKEMFOR ELEMENTARY SCHOOL MUSIC LEARNING

Yoyok YermiandhokoState University of Surabaya, IndonesiaJl. Ketintang Surabaya Indonesia 60231


Received: December 2013. Accepted: Februari 2014. Published: Maret 2014

Abstract

The objective of the research was to: (1) construct a model and develop a music teaching kit of PAKEM which were appropriately applied to the music teaching learning process in the third grade of elementary schools; (2) describe the level of conceptual feasibility; (3) describe the level of operational feasibility; and (4) describe the level of effectiveness of the music teaching kit of PAKEM developed. This research uses eight steps of development which is the modifi cation of 10 steps of Borg & Galldevelopment research. The data to be analyzed included (1) the observation data of teachers and students; (2) the survey form for teachers and students; (3) the students’ learning result of music class; and (4) the result of students’ performance of musical ability. The results of development research indicated that the music teaching kit developed: (1) can be used by teachers without encountering diffi culties; (2) can last eliminating diffi culties and limitations in conducting music teacher learning process; (3) is able to engage students actively; (4) is capable of motivating students to enjoy learning music; and (5) is able to improve the results of music learning in theory and practice.


Keywords: development; teaching kit; music art; PAKEM


p-ISSN 1411-5115e-ISSN 2355-3820

des, inelementary school age (6 to 13 years) children are in the stage of imaginationde-velopment, involving in living up, inter-preting, and appreciatingworks of art, so the impact of these activities of apprecia-tion is very positive in shaping children’s behavior and mental character.

Some research results and opinions of the experts stated that the positive effect of music and art is important to education and children’s development. Jazuli (2008, p. 4) stated that practicing or playing music will contribute positively towards academic ability. Even in the current stu-dy, children who learn piano have spatial temporal reasoning about 30% better than the children who learn computer. It can be found some opinionsin the summary

INTRODUCTION

As stated in government regulation of national standards of education to ele-mentary school level, the charge in ele-mentary subjects covering fi ve groups of subjects: (1) religion and morals; (2) civics and personality; (3) science and technolo-gy; (4) aesthetics; and (5) physical educa-tion, sports and health. From those groups of subjects it appears that the fi eld of ae-sthetics (art and cultural studies) gained no difference from other fi elds, since the framers of the education curriculum poli-cy realize that art education has important and strategic roles to support students’ development, especially in the realm of creativity, expression, and aesthetics. Besi-

Yoyok Yermiandhoko, Developed Music Teaching Kit of PAKEM for Elementary School ... 23

of the Bulletin of the Council for Research in Music Education that (1) music or art education will facilitate the development of children in the language and the speed of reading; (2) a musical or artistic activi-ty is highly valued for children experience in appreciation and expression; (3) art or music activities will help children in their development of positive attitudes towards school and reduce the rate of absence at school; (4) the involvement in art or music activities directly enhances the develop-ment of creativity; (5) a music or art edu-cation eases the social development, self adjustment, and intellectual development.

The results of the study show that art musicis crucial to be given to children mainly at the level of basic education. Ho-wever, the phenomenon occuring in our country is thatart subject particularly mu-sic in elementary schools has not perfomed well yet, though the government has de-signed art and culture curriculum. Particu-larly in music, it can be seen from the low level of students’ understanding about the basics of music theory, low competence of students in singing and playing music, and the teaching learning process that is less in accordance with the requirements of the standards of competence and basic competence (SK-KD). From several visits and mentoring by the researchers and PGSD Unesa team towardssome elementa-ry school teachers in East Java (mentoring activities in schools), are always available to three problems of art education especi-ally music as aforesaid. Even the reality in the fi eld is also found: (1) teacher’s lack of understanding about the basics of music theory, (2) teacher’s lack of competence in performing the music teaching learning process, and (3) less support from the lea-der or the staff of educational department in improving the competence of music te-achers, unlike the subjects of math, scien-ce, social science, civics, and Indonesian language. From the results of discussions with the teachers of elementary school, it is revealed that the main factor of the low quality of performing music teachingis mainly because teachers feel inadequate,

not talented, and diffi cult in designing and performingthe music teaching learning material well.

These issues formed the basis of thought to develop a teaching kit that can assist teachers in carrying out the music learning in elementary schools. Further-more the teaching kit is expected to lead to impact toward the increase of students’ achievements inmusic learning in elemen-tary schools. This research will be focused on the design of teachingkitwhich is ap-propriate to music learning in elementary schools, as well as how the level of concep-tual, operational feasibility, and effective-ness.

The teaching kitproducedis all com-ponents that are used by teachers in their teaching learning process. The component in the study includes the learning scenarios in the syllabus, lesson plan (RPP), teaching media, media usage instructions, students’ worksheets (LKS), and evaluation.

The teaching kit that will be develo-ped is, among others: (1) instructional de-sign of music material referred to PAKEM (active, effective, creative, and fun lear-ning), which all are designed in the form of lesson plan and the teaching learning instruction; (2) the printed media which consist of a variety of music teaching lear-ning media, student worksheet (LKS), rea-ding materials of music; (3) non-printed media such as audio visual media in the form of an audio CD, VCD, and DVD. The selection and use of the audiovisual me-dia have gone through consideration and are based on the reality on the ground, that generally in each elementary school has audio visual devices, such as DVD or VCD players, radio-tape, and television, even computers, so the use of audio visual media is relevant. The results are the mu-sic teaching learning kit, in addition to be used as music teaching learning materials for elementary school students, can also be used asa music learning instruction in some schools and various levels, even for a lecture in PGSD. This is because the subject matter is essentially reading the notation, the introduction of rhythm, melody and


the basic of music theories in general, so that it can be applied to the level of elemen-taryschool to higher ones, of course with the adjustments to the lesson scenario.In particular, the use of the teaching kit of PAKEM in PGSD lecturesis expected to give inspiration to the prospective elemen-tary school teachers, then to be used and developed as they become an elementary school practical teacher ora real teacher.

METHOD

This research uses the development model of Borg and Gall modifi ed into 8 de-velopmental steps, namely: (1) the study of the potential and problems; (2) the data col-lection; (3) the planning and development of products; (4) the product validation; (5) the product revision; (6) the fi eld testing of products; (7) the product revision; and (8) the fi nal product. The development model that is used in this research can be seen in Figure 1.

Product revision

Product revision

Data collection

Potential and

problem

Field testing of product

Final Product

Planning and product

development

Product validation

Figure 1. A Modifi ed Borg and GallDevelop-ment Model

Despite having been through the process of modifi cation, those eight steps still accomodate fi ve essential points in a research development; they are 1) the stu-dy of the needs, problems, and potential available, 2) the procedure of developing product design, 3)the expert validation, 4) the fi eld testing in product usage, and 5) the revision and fi nal production. The pro-cedure of conductin gthe development by researchers can be presented as Figure 2.

The teaching kith as been tested in

the teaching learning process to get in-formation on whether that development design is eligible or not, even if compared with the process before using the teaching kit. The fi eld testing design uses the model of Randomized Posttest Only Control Group Design (Fraenkel, 2003, p. 273). The design uses two target groups of testing, name-ly the group of experiment (a treatment group) and the control group.

The collection of data in the research of development uses multiple data sour-ces, including:(1) Test method, to obtain data on the initial

conditions of the experimental group and the control group, hereinafter called the pretest. This method is also implemented to measure the level of its homogeneity of samples. To measure the level of understanding and student learning outcomes after receiving treat-ment uses a test called a post-test.

(2) Documentation method, conducted to examine and obtain data about the curriculum of elementary schools, teaching materials, textbook, learning kit models, models of learning media, and scoring guideline. All information obtained will be used as the basic to construct the right product to be imple-mented in learning music in the third grade of elementary school.

(3) Observation method, performed to ob-tain qualitative data about the teacher activities in performing the music teaching process and the student ac-tivities in learning music.

(4) Survey method, which is carried out with two models namely open surveys and closed survey. An open survey is a model to obtain qualitative data in validation step, in order that data can be used as a reference in revising the developed product. A close survey is a model to obtain quantitative data about the product feasibility from the validator and to measure the product operational feasibility through the re-sponses of teachers and students.

(5) Experimental method, performed to obtain quantitative data about the


product operational feasibility. The ex-periment done to measure whether the new learning kit is better than the old one.


After observing the results of the pre-vious study and the recent reference analy-sis about the music teaching learning, the researcher plans to develop products in or-der to improve the music teaching learning in elementary schools. The developed pro-ducts in this study are a music teaching kit for the third grade of elementary schools, covering all the basic competence, name-ly: 1) Identifying various tone symbols of song, 2) Connecting the tone symbols with music elements, 3) Connecting the tone symbols with the tempo of the song, 4) Playing a simple rhythmic instrument,

5) Playing music in ensemble with simp-le rhythmic instruments, 6) Singing some traditional and kids’ songs with simple accompaniment.

This teaching learning kit design is based on the analysis of the previous stu-dy and the recent references and the do-cuments related to the innovative teaching kit. The developed kit in this study inclu-des among others: 1) lesson plan with inno-vative music learning scenarios, 2) utiliza-tion instructions of the instrument, 3) non printed media involving video, animation, audio CDs,4) printed media , and (5) stu-dent worksheet (LKS). All kits are desig-ned in a set for each basic competence. The formulation of product specifi cations is arranged through the steps performed as described below.

Figure 2. Flow of Music Teaching Learning Kit Development

Recent condition

1. Relevance of teaching kit 2. Level of media compatibility 3. Level of teacher’s ease in

product implementation 4. Learning process 5. Student’s learning result 6. Student’s motivation 7. Field testing

Initial

1. Teacher’s less competence of music

2. Teacher’s less understanding of music theories

3. Unable to understand Competence Standard/Basic Competence of music properly

4. Lack of music teaching kit and music learning media

5. Lack of reference of music learning for kids

1. The observation of field condition 2. Curriculum analysis and reference

of music 3. Developing the relevant

teaching kit 4. Expert validation of material,

media and practice. 5. Revision and production

ofteaching kit (prototype/ draft)

Development evaluation

Development action

Field testing

Field testing

1. The availability of proper music learning kit and reasonably proved conceptually and operationally

2. Teacher is able to carry out the learning process of music properly according to the demand of Competence Standard/Basic Competence, by using the developed product

3. The quality increase of learning process and learning outcomes of music

Final product


als and non printed material, including les-son plan, student worksheet, evaluation, utilization instructions, video, animation, and learning audio.

Before the implementation of the trial, the researcher performs homogenei-ty test towards experimental group using Bartlett and ANOVA, and T test for testing between groups (value). Homogeneity test fi gures are 0.1177 for X2 count and 3.84 for X2table. It can be concluded that the two groups have no signifi cant difference for the X2 count lower than the value X2 tab-le.The result of the implementation of trial products will be analyzed as follows.1. Teacher activity when performing

the teaching process in experimental group and control group, show a pret-ty signifi cant difference; that is the ave-rage score of control group is 2.25 whi-le the experimental group is 3.56 out of a maximum score of 4. In a percen-tage, the achievement level of teacher activity in the control group is 56.25%, while the experimental group reaches 89.00%. Therefore, it can be explained that the teacher activity in the process of teaching learning in the experimen-tal group is better than that in the cont-rol group, with the difference fi gure up to 32.75%.

2. Student activity in the control group and experimental groups shows signi-fi cantly different scores. The average score of student activities in the control group is 2.40, while in the experimen-tal group 3.70 out of the maximum score 4. In a percentage, the level of student activity in music learning in the control group is 60.00%, and in the experimental group is 92.50%. Thus, the different levels of student activity in the experimental group are higher than that in the control group, with the difference level up to 32.50%.

3. Learning Outcomes of music in the two groups are compared and analy-zed using T-Test. The data obtained in the music learning during the trial implementation can be seen in the fol-lowing table.

Initial

Interview

Document Study

Formulation of Product Specification

Reference Analysis

Figure 3. Flow of Plan of Product Design Steps

Then, the researcher arranges the music teaching learning kit for the third grade students of elementary schools by considering the conditions and intake from teachers about the problems of teach-ing learning process at school. The diffi cul-ties of a music teaching learning process in SD Lidah Kulon V are similar to those at most other schools; that is the teachers’ less competence in understanding rhythm and melody, or in other words, teachers do not have good musical talent, as well as the limitations of teachers’ knowledge about music theory. Based on such matters, the researcher wants to develop the music te-aching kit which is good, innovative, and applicable. The word ‘applicable’ means the teacher is able to use the teaching kit easily and in a proper way. With a set de-sign of music teaching kit based on the ba-sic competence, hoping that the teachers will be easier in utilizing this teaching kit, since all the equipments are available for every meeting and specifi c learning objec-tives.

After going through the mapping of problems and current situation in the fi eld, then carrying out the study of references, and considering the dialogue with practi-tioners in the fi eld, the researcher makes the product design of multimedia teaching kit to improve music teaching learning in the third grade of elementary school. Due to the fact that teaching learning in ele-mentary school has implemented models of active, creative, effective and fun lear-ning approaches (PAKEM), the design of the planned products will refer to the de-sign or scenario of PAKEM learning. This teaching kit product type is printed materi-


Table 1. Result of the T-TestExp.

GroupAspects of the

EvaluationControl Group

88.7189.29

Test of art music knowledge 75

84.88 Performance tests of playing music 62.39

87.63 Average 68.70

The calculation of T-Tests that the value of t count>the value of t table, na-mely 9,212> 1,670. Thus, the values do not meet the criteria Ho: u1 £ u2 or it can be said Ho is declined.It means there is a positive difference in learning outcomes; that is the experimental group is better than the cont-rol group. Then the researcher measures the effectiveness of the development kit products towards learning outcomes of musical knowledge and ability to play music. The T-Test calculation of learning outcomes of musical knowledge measured by a written test shows the result as fol-lows: tcount > t table (t0,05; df=66), with the score 6,284> 1,670. From the data it can be con-cluded that the experimental group gets a better achievement in musical knowledge than the control group. Then the test score of the ability to play music is 7,778> 1,670 or it can be said that t count> t table t0,05; df=66. Thus, the student’s ability to play music in the experimental group is better than in the control group.

CONCLUSION

After performing a research invol-vingthe development process of teaching-kit and the implementation of the fi eld tes-ting, it can be concluded that the limited capability of teachers in music teaching can be eliminated by the availability of good teaching kit. Through the utilization of the

products of music teaching kit, teachers can perform the teaching learning of music well and meet the demands of the music curriculum. The music teaching learning is very specifi c since it demands a teacher’s musical ability, which means a teacher has to master melodic and rhythmic skills. The weakness of teacher’s musical ability is the cause of failure of a good process of music teaching learning. Audio and video media involving in this teaching kit are able to assist teachers in overcoming the obstacles in such musical capability limitations. Be-sides, the various design of teaching kit of PAKEM and the utilization of interesting teaching media, signifi cantly can increase the student interest to learn music, as well as raise their motivation to love and to learn music further. The more increasing the quality of music teaching process, the more signifi cantly increasing the student learning outcomes, including musical kno-wledge and the ability to play music.

REFERENCES

Fraenkel, J.R. & Wallen, N.E. (2003). How to Design and Evaluate Research in Edu-cation. Book 2. Boston: McGraw Hill.

-Hartono. (2010). Pemanfaatan Media dalam Pembelajaran Tari di Taman Kanak-kanak. Harmonia. 10 (1), 1-9.

Jazuli, M. (2008). Paradigma Kontekstual Pendidikan Seni. Surabaya: Unesa University Press.

-Sugiono. (2011). Metode Penelitian Kuanti-tatif dan R & D. Bandung: Alfabeta

-Suherman, A. (2010). Model Pembelajaran Pakem dalam Pendidikan Jasmani di Sekolah Dasar. Jurnal Penelitian Pen-didikan. 10 (1), 80-89.

28

THE IMPROVEMENT OF AUDIO-VISUAL BASEDDANCE APPRECIATION LEARNING AMONG PRIMARY

TEACHER EDUCATION STUDENTS OF MAKASSAR STATE UNIVERSITY

Wahira Makassar State University, Indonesia



Abstract

This research aimed to improve the skill in appreciating dances owned by the students of Primary Teacher Education of Makassar State University, to improve the perception towards audio-visual based art appreciation, to increase the students’ interest in audio-visual based art education sub-ject, and to increase the students’ responses to the subject. This research was classroom action research using the research design created by Kemmis & MC. Taggart, which was conducted to 42 students of Primary Teacher Education of Makassar State University. The data collection was conducted using observation, questionnaire, and interview. The techniques of data analysis applied in this research were descriptive qualitative and quantitative. The results of this research were: (1) the students’ achievement in audio-visual based dance appreciation improved: precycle 33,33%, cycle I 42,85% and cycle II 83,33%, (2) the students’ perception towards the audio-visual based dance appreciation improved: cycle I 59,52%, and cycle II 71,42%. The students’ perception towards the subject obtained through structured interview in cycle I and II was 69,83% in a high category, (3) the interest of the students in the art education subject, especially audio-visual based dance appreciation, increased: cycle I 52,38% and cycle II 64,28%, and the students’ interest in the subject obtained through structured interview was 69,50 % in a high category. (3) the students’ response to audio-visual based dance appreciation increased: cycle I 54,76% and cycle II 69,04% in a good category.


Keywords: learning; art appreciation; audio-visual media


p-ISSN 1411-5115e-ISSN 2355-3820

tentials but also to instill the awareness of traditional art and culture as well as to de-velop moral, social-cultural, and spiritual critical awareness.

Art appreciation aims to develop the awareness, understanding and apprecia-tion towards artworks and is conducted through artwork observation and discussi-on. The observation aims to gain aesthetic experiences through the achievement of intrinsic values of the artworks.

Hamalik in (Arsyad, 2007, p. 15) as-serts that ”the use of learning media in a

INTRODUCTION

Learning consists of goals, strategic approach materials, methods, learning sources, and evaluation. Jazuli (2007, p. 165) states that ”learning is a process of interaction between students and a teach-er and learning sources in a purposefully created condition so that there is a beha-vioral change”. The art appreciation lear-ning is very important to be presented in higher education because it functions not only as an effort to develop aesthetic po-

Wahira, The Improvement of Audio-Visual Based Dance Appreciation Learning ... 29

teaching-learning process can raise an lear-ning intention, interest and stimulus, even bring new psychological infl uences, rai-sing students’ motivation”. Besides raising motivation and interest, learning media can help increase students’ understanding, present data in an interesting and reliable way, facilitate data interpretation and con-dense information.

Interest directs someone’s attitude and behavior to certain aims and goals, and it will also defi ne someone’s attitude and behavior in choosing object which will be done, or it will direct someone to do so-mething. The observation showed that the interest of the students of Primary Teacher Education of Makassar State University in art education subject was very low, indica-ted by their reluctant attitude in attending the learning process.

The students had low achievement and dance appreciation activities, 33,33% of them got ≥ 65 in the pretest, and 66,70% of them got ≤ 65. Whereas, perception, in-terest and response to the use of audio vi-sual mediain art education subject are still very low, only 26,19% of the students got ≥ 65 befor the treatment, while the score ≤ 65 was achieved by 73,80% of the students. It was indicated by the initial condition of the test scores given to 42 students, it was caused by the situation in which the lear-ning still referred to conventional model, so that the learning process became unin-teresting for the students.

That problem indicated that a rese-arch about “The Improvement of Audio-Visu-al based art appreciation learning among Pri-mary Teacher Education Students of Makssar State University”had to be done.

Learning is a combination which con-sists of the elements of human, materials, facilities, equipment and procedure which affect each other to achieve the learning goals (Hamalik, 2008, p. 66). Education is a learning process which is a combination of science and technology, ethics and arts. A learner is a man who always learns. A learner is a man who: (1) learns as an indi-vidual, (2) learns as a team, (3) learns as an organization, and (4) learns as a citizen of

a nation. Learning is an effort to organize

the environment to create a learning condi-tion for students in dealing with the social life and becoming good citizens. Hamalik (2008, p. 71) states that a learning system has three main characteristics: (1) special plan, (2) interdependence of the elements, (3) goals to be achieved. The elements in the learning system are students, goals and procedure. Hamalik (2008, p. 61) asserts that education is ”a process or activities which is intended to bring about a chan-ge om human behavior”. There are three things contained in the learning sytem: plan, interdependence and goals.

Audio-Visual Based MediaMedia is derived from the latin ‘me-

dius’ which means center, intermediary, or messenger from the sender to the recei-ver. Arsyad (2007, p. 27) states that ”if it is understood generally media media is the human, or events which create conditions which make students able to gain know-ledge, skills or attitude”. Learning Media are graphic, photographic or electronic equipment to catch, process, and rearrange the visual and verbal information

Audio-visual media is a development of visual teaching concept, in which some equipment used by teachers in presenting concept. Ideas and experiences caught by the sense of view. The main emphasis of visual teaching is the learning values gained through concrete experiences.

Audio-visual media has advantages and disadvantages in the learning process. The advantages are that it makes the stu-dents think creatively and appreciate it and able to overcome limitation. The expe-riences are gained by the students through audio-visual media. Audio-visual materi-als only matter when they are used as part of the learning process so that the teach-ing-learning process becomes interesting and not boring, and the materials can also be useful when they are used as part of the teaching process.


Functions and Benefi ts of MediaTeaching-learning process is two

important elements, namely teaching met-hods and learning media, and both of them are interdependent. The choice of a certain method will infl uence the suitable learning media, although there are other aspects. The use of learning media can raise new desire, motivation and interest.

The use of visual media can provide good experiences which fulfi ll the needs of individual students. Arsyad (2007, p. 16) asserts that there are three main functions if it is used for individuals, groups, or mas-sive audience: (1) motivate interest and action, (2) provide information, (3) giving instructions. In order to fulfi ll the motiva-tional function the learning can be realized using drama or entertainment technique.

Appreciation and Creativity in Arts There are many kinds of arts in In-

donesia such as dances, which can be used as a media to improve appreciation and can be performed in any circumstances for the sake of the arts in this country. Art appreciation learning is expected to raise creativity in showing appreciating attitude towards Indonesian cultures and arts espe-cially the local ones. The attitude and tehe interest in appreciation are related to the knowledge, observation, understanding, analysis and evaluation of an artwork.

Appreciation is often used in the ar-tistic life and even in the daily life, some-times the term is related to the arts. Many opinions say that art appreciation is com-parison and assessment. Or, appreciation is assessment, reward, awareness and un-derstanding.

Art appreciation is a skill to under-stand arts from various defi nition and skills. Adirosal (2004, p. 34) states that ”ap-preciation is an ability to know or under-stand values contained in the area of vir-tue”. The process of learning arts and the sensitivity in the sensory and emotional fi elds need to be trained optimally through various ways such as appreciating, explo-ring, experimenting with the environment and criticizing. This sensitivity needs to be

developed in the learners through the ap-proach of arts. Arts play an important role in the real life, and art education helps the development of learners. Art appreciation contains an educating function. Its exis-tence in art education program is alongsi-de with recreational activities. With such kinds of activities, learners can develop their creative sides.

Perception and the Factors Infl uencing ItSomeone’s behavior can be infl uen-

ced by his/her perception and understan-ding towards situations which are rela-ted to the goals. Individual behavior can be predicted if it can be understood how an individual perceives the situation and what is expected. Behavior is defi ned by the perception about who he/she is and his/her surroundings; and what is done is the refl ection of his/her environment. Perception can affect behavior; it is an in-dividual behavioral attitude. Individual perception can motivate better behavior. The object of perception which is assessed negative results in negative behavior, whi-le an individual who perceives an object positively will also behave positively.

Human generally receives informa-tion from the environment through the similar process, so that in understanding perception there must be a process in which there is information which is gained through a stimulus. Experts on cognitive social psychology suggest that there are two kinds of reality in the world, name-ly objective reality and subjective reality. Every object is similar, but if it is observed by different people, different interpreta-tions on the object will occur. Perception is a process of assessment transaction to-wards an object, situation and event based on the past experiences, attitude, hopa and values existing in an individual. The for-mation of perception is very infl uenced by observation, sensing towards the thinking process which can be realized through the reality desired by someone towards an ob-served object.


Interest and the Factors Infl uencing ItSomeone’s success is not only defi n-

ed by the skills and talents, but also his/her interest. Bando (2004, p. 8) asserts that ”the real interest is the existing factor in-side someone’s self, which makes him in-terested in or reject an object, people and activities in his environment”. Interest is basically a mental device consisting of a combination of feeling, hope, stance, preju-dice, fear or other tendencies which direct an individual to a certain choice.

The existence of someone’s interest and attention towards an object is indi-cated by how he/she responds to every object he/she encounters. Interest is not psychological symptom which is inde-pendent; it is affected by other conditions. Skinner (1968, p. 244) states that ”interest is a motive which directs an individual’s attention to an interesting object, namely the pleasing one”.

In short, someone’s interest comes from two factors, namely the primary in-terest coming from inside and secondary interest coming from outside. The internal interest is the main source which motiva-tes an individual to do anactivity, because it will be directly related to other mental state. Object of interest here comprises the whole conditional aspects which attract someone’s attention. This object general-ly comes from outside the individual with different condition and form.

Soewando (1982, p. 17) states that whether someone’s interest is focused on an object or not is infl uenced by several things related to the interest and attention, ”(1) talent, (2) physical condition, (3), sex, (4) age, (5) atmosphere, (6) determination and willingness”.

METHOD

This research was conducted by in-volving 42 students of Primary Teacher Education Program of Makassar State Uni-versity academic year 2006/2007. This re-search was conducted in two cycles with 2 months of effective treatment, and in every cycle took 1 month or equal to 4 meetings.

The research procedure consisted of two cycles which was sonducted ac-cording to the achieved change. This re-search comprised 4 (four) steps: (1) plan-ning, planning the learning which would be implemented in the teaching-learning process, (2) action implementation, imple-menting the action based on the scenario, (3) observation, conducting observation using observation form, (4) analysis and refl ection, evaluating the action consisting of quality, quantity and time of each ac-tion, and improving the implementation based on the evaluation to be used in the next cycle.

Data Collection TechniqueThe data of the students’ skill and

creativity were obtained using written test and practice using the basic competence of appreciation. The data on perception, interest and response were obtained using questionnaire and interview.

Data Analysis TachniqueThe data were analyzed qualitatively

and quantitatively. The analysis was con-ducted when every treatment ended. The data on the students’ perception and inter-est and the lecturer’s initial skill were ana-lyzed quantitatively, this model consisted of three components; (1) data reduction, (2) data presentation, (3) description of the research result and conclusion. (Kasbolah, 1998, p. 3). The data on the students’ skill and learning result as well as their under-standing about the materials presented using audio visual media were analyzed quantitatively to see the infl uence of the audio visual media. The criterion of art education subject is ≥65 compared to the understanding test before the treatment.

In defi ning the success of the audio visual media implementation Likert scale is used with four choices, namely comple-tely agree, agree, disagree, or completely disagree, on 12 aspects of the lecturer’s activities and 6 aspects of the students’ activities. The scores obtaines from the researcher’s and the students’ observation were defi ned as: (1) 4.00 -5.00, complete-


rally, interactively communicating to other students and the lecturer, and not feeling nervous anymore when given an assign-ment by the lecturer. The analysis result on the learning improvement can be seen in Table 1. Table 2 shows that the students’ dance appreciaton skill was very good.

The students’ perception on the audio vi-sual based dance appreciation learning

Perception is a process, organization and interpretation of the stimulus so that it becomes a meaningful thing, and a whole response inside an individual.

Table 3 shows that related to the stu-dents’ perception towards the audio vi-sual based dance appreciation learning in cycle I, 11 students completely disgreed (26,19%), 25 students agreed (59,52%), 5 students disagreed (11,90%), and 1 student completely disagreed (2,38%). Based on the explanation above, it can be concluded that most of the students agreed with the

ly agree, (2) 3.00-3.99 agree, (3) 2.00- 2.99, disagree, and (4) 1.00- 1.99 completely disagree. While the scores used in compe-tency test were: (1) 4.00-5.00, very good, (2) 3.00-3.99, goog, (3) 2.00-2.99, bad, (4) 1.00-1.99, very bad.

The analysis result through the ave-rage percentage was described by giving meaning of the numbers in the table of fre-quency and percentage. The meaning ca-tegory were based on the level namely: (1) 0,0 – 2.0% very low, (2). 20,1 – 40%, low, (3) 40,1 – 60% medium, (4) 60,1 - 80% high (5) 80,1 – 100%, very high.

RESULT AND DISCUSSION

The Achievement and Art Appreciation Activities of the Students

The observation result shows that the learning improvement in cycle II had a positive impact on the students’ activity: working on the assignment more structu-

Table 1. Improvement of Learning Activities and Achievement

No Score Requirement PercentagePrecycle Cycle I Cycle II Precycle Cycle I Cycle II

1 ≥ 65 14 18 35 33,33 42,85 83,332 ≤ 65 28 24 7 66,67 57,14 16,70

Table 2. The Appreciation Skill ImprovementScore Category Cycle I Percentage Cycle II Percentage

4.00 – 5.00 Very Good 2 4,76 2 4,763.00 – 3.99 Good 36 85,71 37 88,092.00 – 3.99 Bad 4 9,53 3 7,141.00 – 1.99 Very bad 0 0 0 0

Total 42 100 42 100

Table 3. The students’ perception on the audio visual based dance appreciation learning

Score Category Cycle I Percentage Cycle II Percentage4.00 – 5.00 Completely agree 11 26,19 11 26,193.00 – 3.99 Agree 25 59,52 30 71,422.00 – 2.99 Disagree 5 11,90 1 2,381.00 – 1.99 Completely dis-

agree 1 2,38 0 0Total 42 100 42 100


learningin cycle I, as shown with the per-centage of 59,52%.

In cycle II it can be seen that 11 stu-dents completely agreed (26,19%), 30 students agreed (71,42%), 1 students disagreed (2,38%), and no one completely disagreed. Based on the explanation abo-ve, it can be concluded that the students’ perception on the learning in the average of cycle I and II shows that they were ag-reed with it (71,42%).

Table 4 shows that related to the stu-dents’ interest in the learning in cycle I, 13 students (30,95%) completely agreed, 22 students (52,38) agreed, 4 students (9,52%) disagreed, and 3 students (7,14%) comple-tely disagreed. Based on the explanation above, it can be concluded that most of the students completely agreed with the lear-ning in cycle I with the percentage 30,95%.

In cycle II, it can be seen that 15 stu-dents completely agreed (35,71%), 27 stu-dents agreed (64,28%), and no one disag-reed. Based on the explanation above, it can be concluded that most of the students completely agreed and were interested in learning art appreciation using audio vi-sual media in cycle II with the percentage 35,71%.

Based on the Table 5, it is shown that related to the students’ responses to the

learning in cycle I, 13 students were con-sidered it very good (30,95%), 23 students considered it good (54,76%), 3 students considered it bad (7,14%), and 3 students considered it very bad (7,14%). Therefore, it can be concluded that the students gave positive responses to the dance apprecia-tion learning in cycle I with the percenta-ge 54,76%. In Cycle II it can be seen that 13 students thought that the learning was very god (30,95%), 29 students considered it good (69,04%), and no one thought it was bad. Based on the explanation above, it can be concluded that the students gave positive responses to the dance appreciati-on learning in cycle II with the percentage 30,95%.

The observation result shows that the learning improvement in cycle II had a positive impact on the students’ acti-vities: working on the assignment more structurally, interactively communicating to other students and the lecturer, and not feeling nervous anymore when given an assignment by the lecturer. Although the action was not very good, after cycle II the assignments given by the lecturer could be understood quickly and done well, the ac-tivities were better and their achievement improved, and this improvement occurred in the third meeting of cycle I.

Table 4. The Students’ interest in the Audio Visual based dance appreciation learning

Score Category Cycle I Percentage Cycle II Percentage4.00 – 5.00 Completely agree 13 30,95 15 35,713.00 – 3.99 Agree 22 52,38 27 64,282.00 – 2.99 Disagree 4 9,52 0 01.00 – 1.99 Completely dis-

agree 3 7,14 0 0Total 42 100 42 100

Table 5. Students’ responses to the audio visual based dance appreciation learningScore Category Cycle I Percentage Cycle II Percentage

4.00 – 5.00 Very good 13 30,95 13 30,953.00 – 3.99 Good 23 54,76 29 69,042.00 – 2.99 Bad 3 7,14 0 01.00 – 1.99 Very bad 3 7,14 0 0

Total 42 100 42 100


The students started to understand the concept of the materials presented by the lecturer. The understanding of the as-signment characteristics was better, sup-ported by the fact that the students could fi nish the assignment well every time they were given assignments. They were not nervous anymore to ask the things they did not really understand, and the class si-tuation was very conducive.

In the fi rst meeting of cycle II, the students’ readiness in attending the class improved. 38 students dressed completely to join the basic dance movement practice. In the second meeting, every student had to bring their own practicing clothes con-sisting of shirt and training pants, and the female students were not allowed to wear skirts and the male students were not allo-wed to wear formal pants. This condition made the learning better. The basic dance movement practice and the appreciation of an artwork in a casual way resulted in bet-ter learning condition.

The dance appreciation learning using audio visual media provided many benefi ts for the learning process. Therefo-re, the audio visual based learning needs to be conducted by considering the plan-ning, implementation and evaluation in the following way: (1) presenting materi-als which are designed systematically to make the students more active and crea-tive in the learning process, (2) giving sti-mulus through audio visual media so that the students pay attention to the learning process, (3) starting a habit of watching dances through varios media regularly and appreciating it, (4) standing up for the students’ aspiration in order to make them better people especially in appreciating arts, (5) providing facilities to support the learning in the form of audio visual media such as video, CD, movie and sound, tele-vision, and pictures and sound. Perception of someone’s observation process from a certain condition is continuously affected by the information from his/her surroun-dings. That perception is the organization and interpretation of a stimulus so that it becomes meaningful as a comprehensive

response in an individual (Fadillah, 2005).The students’ perception in attending

the learning process of audiovisual based art appreciation improved, so that they could identify the difference between dan-ces from Indonesia and those from other countries. The use of audio visual media could create a good perception and raise the students’ interest so that they could ap-preciate an artwork, the display of national dances or the local ones could facilitate the learning goals.

Interest is infl uenced by needs, go-als, satisfaction, talents and habits. Exter-nal factors which affect the interest do not settle, but they can change according to the environmental conditions. Interest is the moments of tendency which are intensive-ly directed to an object that is considered important. Interest always contains strong affective elements (feelings, emotion). It shows the real self of someone. Interest has the elements of recognition (cognitive) and willingness (hope) to reach an object.

Someone’s response comes from him/herself, the outside, concentration, needs, talents and habits. This is in accor-dance with Arsyad’s opinion (2007) that the benefi ts of audio visual media in lear-ning are:

(1) Increasing mutual understan-ding and sympathy in the classroom, (2) resulting in signifi cant changes in student behavior, (3) showing the relationship bet-ween the subjects with the needs and the students’ interest as their motivation inc-reases, (4) bringing freshness and variety to the students’ learning experiences, (5) making the learning results more mea-ningful for students’ various abilities, (6) encouraging the use of meaningful sub-jects by involving imagination and active participation which results in the increa-sing learning outcomes, (7) providing ne-cessary feedback to help students discover how much they have learned (8) providing experiences with the meaningful concepts which can be developed, (9) broadening the students’ insight and learning experi-ences which refl ect the nonverbal learning and make appropriate generalizations, (10)


convincing the students’ that they need the order and the clarity of mind if they are going to create a structure of concept and a system of meaningful ideas.

The use of audio visual media accor-ding to the art appreciation materials can increase the quality of the teaching-lear-ning activities. The quality is related to the situations that (1) the learning process runs well, dynamically and effi ciently in time, (2) the students learn conscientiously and actively as an individual, and their crea-tivity develops, (3) the lecturer’s skills in demonstrating, presenting material using audio visual media, guiding and evalua-ting students’ learning improve.

The use of visual media can provide enjoyable experiences and meet the needs of individual students, as what Arsyad (2007) states that the media are used to (1) motivate interest or action, (2) present in-formation, (3) give instructions. Student responses to the application of art appre-ciation learning with audio-visual media were the following: exciting, fun, increa-sing understanding and appreciation, al-lowing more freedom in responding to artworks.

CONCLUSION

Based on the fi ndings that have been described and the discussion of the results of the study, the conclusion of the research result can be stated as follows.

The lecturer of dance education could develop audio visual media, so that the students’ achievement and learning ac-tivities in art education subject especially in the basic competence of dance appre-ciation and basic movement practice imp-roved. From the research on 42 students, there was an improvement in their achie-vement. The percentage of the achieve-ment was nit good in the precycle, but the-re were improvements in cycle I and cycle II, in the last learning activities. Whereas, the students’ activities in precycle activi-ties was not very good, but it improved in cycle I dan cycle II and became better.

With the use of audio-visual media,

the dance lecturer could provide reviews and comments in every end of the meeting so that it could improve the students’ per-ceptions towards dance appreciation using audio-visual media in art education sub-ject. It was proved that there is an increase in the percentage of cycle I and cycle II.

With the use of audio-visual media, the students’ interest in art education sub-ject, especially dance appreciation, inc-reased, and it was proved by the increase from cycle I and cycle II.

With the use of audio-visual media in dance appreciation learning, the stu-dents’ response to the use of the media inc-reased, in which the lecturer could use the media so well that there was an increase in the students’ responses on cycle I and cycle II with the high category.

Based on the conclusion above, some suggestions can be stated as follow:

Art education lecturers, especially dance, music, and visual art, should use audio-visual media as it can increase art appreciation, achievement, perception, in-terest and good response.

To Primary Teacher Education Pro-gram of Makassar State University, the results of this research should be used as a basis for policy making related to the professional development, especially art education lecturers in order to improve the quality of students’ learning in the future.

Teachers should able to design and develop learning processes so as to pro-vide a good understanding for students through audio visual based learning as a learning tool.

REFERENCES

Arsyad, A. (2007). Media Pembelajaran. Ja-karta: PT. Raja Grafi ndo.

Bando, M.S. (2004). Analisis Faktor – Fak-tor yang Berperan Terhadap Minat Baca Siswa Sekolah Lanjutan Pertama (SLTP) di Kecamatan Panakkukang. Te-sis tidak diterbitkan. Makassar: Pro-gram Pascasarjana Sekolah Tinggi Ilmu Ekonomi Makassar.

-Bastomi, S. (1991). Kritik dan Apresiasi Seni.


Makalah disajikan dalam Seminar Nasional Kritik Seni dalam Pendidi-kan IKIP Semarang, Semarang, 15-16 Maret.

-Bungin, M.B. (2007). Penelitian Kualitatif. Jakarta: Kencana

-Damandiri. (2005). Retrieved http://www.damandiri.or.id/fi le. May, 15 2008.

Fadillah, A. (2005). Konsep dan Pengenalan Diri. Retrieved http://www.avian.staff.ugm.or.id. May, 15 2008

-Gegne, R.M. (1998). The Condition of Learn-ing. New York: Holt & Rinehart and Winston.

Hamalik, O. (2008). Kurikulum Pembelaja-ran. Jakarta: PT. Bumi Aksara.

-Harefa, A. (2008). Menjadi Manusia Pem-belajar. Jakarta: Penerbit Buku Kom-pas.

-Harjanto. (2005). Perencanaan Pengajaran. Jakarta: Aneka Cipta.

-Heinick, R., Molenda, M. & James, D. Rus-sel. (1999). Instructional Media and Technologies for Learning. New Jersey: Prentice Hall,Inc,Englewood Cliffts.

Jazuli, M. (2008). Paradigma Kontekstual Pendidikan Seni. Surabaya: Unesa University Press.

-Kartono, K. (1996). Psikologi Umum. Band-ung: Mandar Maju.

Kasbolah, K. (1998). Penelitian Tindakan Ke-las (PTK). Jakarta: Depdiknas Didjen

Dikti Proyek PGSD.-Khisbiyah, dkk. (2004). Pendidikan Apresi-

asi Seni. Surakarta: Universitas Mu-hamadiyah Surakarta.

-Mulyadi. (1991). Kritik Seni. Surakarta:UNS.

-Pardjoko, dkk. (2007). Panduan Penelitian Tindakan Kelas. Yogjakarta: Lembaga Penelitian Universitas Negeri Yogja-karta.

-Rohidi, R.T. (2000). Kesenian dalam Pendekatan Kebudayaan. Bandung: STISI Bandung Pres.

-Sadiman, S.A. dkk. (2007). Media Pendidi-kan. Jakarta: PT. Raja Grafi ndo

-Sedyawati, E. (2007). Budaya Indonesia. Ja-karta: PT. Raja Grafi ndo Persada.

-Semiawan, C.R. (1993). Memupuk Bakat dan Minat Belajar. Jakarta: PT. Gramedia

-Sudiyono, dkk. (2006). Strategi Pembelaja-ran Partisipatori di Perguruan Tinggi Malang: UIN Malang Press.

-Sudjana, N. (2001). Teknologi Pengajaran. Bandung: Sinar Baru Algasindo.

-Sudjana, N. (2002). Pembinaan dan Pengem-bangan Kurikulum di Sekolah. Band-ung: Suara Baru Algesindo.

-Soehardjo, A.J. (2005). Pendidikan Seni dari Konsep Sampai Program.Malang: Balai Kajian Seni dan Desain UM.

Skinner. B. (1968). The Technology of Theach-ing. New York: Appleton Century Crofts.

37

REOG AS MEANS OF STUDENTS’ APPRECIATION AND CREATION IN ARTS AND CULTURE BASED ON THE LOCAL

WISDOM

Sri Ambarwangi Teacher of Vocational School 1 Pringapus Semarang District, Indonesia


Received: July 2013. Accepted: Februari 2014. Published: Maret 2014

Abstract

This paper is the result of the study and the implementation of learning in the fi eld of the author, especially in the implementation of the study of Arts and Culture in the vocational schools. The purpose of this paper is to show that by learning local culture based on learning objectives the corresponding to the curriculum can be reached. In fact, the local culture also containing more local wisdom is felt directly by the students. The art of Reog, known around Pringapus Semarang Regency, can be used as means of learning arts for students, especially in the activities of app-reciation and expressions. The existing values in the art of Reog can be conceptually presented in class, as well as directly through the students’ activities of appreciation and expression in the form of performances in the school environment. Students can easily receive learning materials and can be more expressive while presenting the show. The values that are in the presentation of the art of Reog are social, religion, nationalism, and culture. Students can present Reog with ent-husiasm and expressive as a show that has already exist since a long time in the environment of their own, and even many have become the performers of Reog in their neighborhood. Reog has already been part of his life that has the role of self-actualization, expression, social, and cultural. Most of those students feel proud to be a part in the show in his living quarters so that they do not feel ashamed of serving the art in school.


Keywords: Reog; Possessed; Based on Local Wisdom; Arts and Culture


p-ISSN 1411-5115e-ISSN 2355-3820

a problem in learning that a large number of teachers have different interpretations. Even many just give Western art concepts due to their background of Western art without any opportunity for the students to understand the use of the concept and the expression. Thus, the learning objecti-ves are not achieved.

Lack of understanding in application and different art background from the con-cept to be achieved in the curriculum lead to many different interpretations among teachers. It is understandable if teachers with educational background of Western music which has been ingrained in Wes-

INTRODUCTION

School-based Curriculum (KTSP Curriculum) of Arts and Culture for the non Vocational School of art in fact has al-ready accommodated local arts grants to be awarded in the lesson. Its implementati-on has already given the freedom for edu-cation to develop units in accordance with the circumstances, the means, and the local environment. The standard of competence in art music and dance has already accom-modated arts as a part of an aesthetic lear-ning which includes artistic appreciations, creations, and expressions. There comes to


tern notation system should teach a diffe-rent Javanese traditional music notation system. However, it does not mean that teachers should stop searching for new innovations to the implementation of lear-ning the art of local traditions that indeed should be given will be stopped anyway since the learning objectives which are relevant to the competency standards in schools should include appreciations, ex-pressions, and creations. And to achieve it, there are actually a lot of ways to be done by the teachers, both in class and outside of class.

It is wise to learn the art of traditi-on that comes from the local art. Learning resources in the form of abundant local art traditions around schools can be used in learning. This course will also enable teachers to provide the materials for the students that are accustomed to learn this tradition. This would be much better than giving Western music learning materials that are diffi cult for students to under-stand due to the infrastructure as well as the heterogenous background of students. Western music is really foreign to them.

SMK Pringapus is a state vocational school located in the village of Jatirunggo in sub-district Pringapus, whose territory borders on Boyolali Regency, Grobogan, and the town of Salatiga. For several years the author had diffi culty in teaching arts to the students. Students still have not easi-ly received the material of art music pri-marily in the concepts, such as notation of melodies, harmony, and so that West grammatical. Likewise in the management practices of learning music. This might be due to environmental background of the students who are still unfamiliar with the materials. Instead, they were pretty enthu-siastic if invited to a discussion of the mu-sic traditions of the local area such as Reog.

Reog is a kind of art that has fl ouri-shed since decades ago until now in Se-marang district which borders on Boyolali Regency, Salatiga city, and Grobogan. It is like a kuda lumping, jaran kepang, and jat-hilan. Reog in Semarang district is not as grand as the show of Reog Ponorogo, but

it has its own peculiarities customize exis-ting local traditions in the area. Up to this point a show is always packed with hun-dreds of spectators, even thousands.

Reog could still exist and is favorable until now. The reason is in its functions as either an entertainment or other functions, such as the socio-cultural and ritual pur-poses. This is what inspires the author to investigate the arts in order to make it as a medium of appreciation and expression, including the creation of vocational stu-dents of Pringapus. During served in the school environment, it is always followed by enthusiastic students, both as a perfor-mer or a dancer as well as the audience. In fact, according to their testimony, they have become the performers of Reog since they were children. The author also explo-res their artistic endeavors in their living quarters, especially in the arts of Reog, so local values can be achieved when it is used as a medium of learning. The art of Reog has long grown and becomes a part of the life of the local community expressi-on. It is believed to contain positive values that can be used in the world of education. Values that are believed to eventually be-come a part of the society, which are often called local wisdom, will facilitate this ma-terial as a medium of learning arts.

In accordance with its character, the lesson of Arts and Cultural has its own pe-culiarities and it has a specifi c purpose. The existence of Arts subject at schools is not to create artists, nor to brighten students with their math-logic. It is such a special purpo-se to soften the senses, intellectual, moral, and to strengthen the sense of nationalism. Besides psychologically, arts can help stu-dents develop their smooth and gentle nature and a sense of solidarity in accor-dance with the nature of art that it plays or invests (Dewantara, 1977; Ardipal, 2010; Campbell, 2001) .

The values in the traditional arts are believed to be good for decades of life to be a right medium for students to ex-press themselves and be creative if it can be managed well in the learning process. This could concern in the management of

Sri Ambarwangi, Reog As Means of Students’ Appreciation and Creation in Arts ... 39

time or the exact subject matter, the deter-mination of classes, and the performances of material parts accordingly. The parts that cannot be applied at schools can be selected without omitting the main sub-stance in the Reog art. This is what authors continuously examine the implementation of learning the local tradition art especially Reog in SMK Negeri Pringapus.

Role of Art Education in SchoolsArt music in school-based curricu-

lum (SBC) of vocational schools is a piece of the Arts and Culture subjects, inclu-ding other arts such as visual arts, dance and theater arts. In the background of the competency standards of this lesson serve an objectives amog other things: (1) to un-derstand the concept and the importance of art and culture, (2) to show appreciation attitude towards art and culture, and (3) to express creativity through arts and culture (Depdiknas, 2006) .

Arts and Culture has its own dis-tinctiveness or uniqueness that does not belong to other subjects, so learning this subject must be different from others any way. This is very benefi cial to the develop-ment needs of students. In arts education, to achieve meaningfulness is known by the approach of “learning with arts”, “lear-ning through arts”, and “learning about arts”. The activity with this approach is to provide an aesthetic experience in the form of creative activity or expression, and appreciation. “Learning with arts” implies that in any learning activities we can en-gage the art in it. For example, studying while listening music. “Learning through arts” implies that the art can be used as a means to learn things or other fi elds. For example, in learning songs, while learning music we could also learn literature, his-tory, nationalism, social, religion, and ot-hers. This concept is embraced the notion popularized by Read (1970), known by the approach to education through art. “Lear-ning about arts” means that to achieve the aesthetic goals students can directly learn arts covering all aspects of the art. For example, when learning music students

are expected to master it or the learning objectives in order to be able to sing or play music that is suitable for the purpose of the lesson.

An arts education with its own cha-racteristics makes it have a special purpose in achieving the goals of general educati-on. There are three properties owned by the education of Arts and Culture; they are the nature of multilingual, multidimen-sional, and multicultural. Multilingual means the development can be done in va-rious ways and media, such as visual arts, sound, motion, roles, and the mix of those media. Multi-dimensional means the de-velopment of competencies that includes conception, appreciation, and creation by blending harmoniously with the elements of aesthetics, logic, kinestetics, and ethics. And, multicultural competency means the development of competencies through meaningful activities that lead to an appre-ciation of the cultural diversity of Indone-sia and foreign countries.

Music education has its own domain which is different from other fi elds, such as mathematics which is farming out the domain of logics. The fi eld of art is a sense and appreciative attitude that can be achie-ved through the activities of appreciation and creation to meet the individual needs of harmony. Arts and Culture is a group of subjects which has the aesthetic charac-teristics of learning distinctive competence and standard in the achievement of basic competencies (Ambarwangi, 2013, p. 78).

Human beings essentially have mul-tiple intelligence which is not based so-lely on intelligence and logical, but other intelligence. According to Gardner (1993), human beings have multiple intelligences among others (1) linguistics (functional language profi ciency), (2) logical-mathe-matical intelligence (the ability to think coherently), (3) musical intelligence (the ability to capture and create a pattern of tones and rhythm), (4) spatial intelligence (the ability to form mentally images about reality), (5) physical-kinesthetic intelligen-ce (the ability to produce fi ne motor move-ments), (6) intra-personal intelligence (the


ability to know yourself and develop a sen-se of identity), and (7) interpersonal (social) - the ability to work effectively with others, connect with others, and to show empathy and understanding, to observe their moti-vations and goals. Interpersonal intelligen-ce (the ability to understand other people). Music teachers can take advantage of the nature of human intelligence to get the whole musical concepts by exploring all the existing potential. Any effects resulting in the art education in schools will lead to general education purposes. Students who have achieved the standard of high appre-ciation and creation could be the ones who like to respect others, creative, gentle, tole-rant, able to come up in public, self-confi -dent, even intelligent. Human traits with these properties are not parts of the gene-ral education objectives of various types of education. It is not possible to achieve the objectives of education only through the kind of education that involves the left hemisphere of logical, analytical, sys-tematics, and so on, but also involves the right hemisphere of intuition, imaginati-on, innovation, synthesis (holistic), creati-ons and so on which are obtained through arts activities, such as rhythm, tone, color (DePorter and Mike Hernacki, 2000, p. 27). Students who are active in the choir, for example, will be familiar with the nature of the work, like helpful, tolerant and res-pect other people’s love, harmonious, have a high musical taste, gentle, confi dent and disciplined. It is all a direct result caused in the process of training up to her appea-rance. That is to be expected in the general education goals.

One important thing to enhance the creativity and intelligence of the students is a tribute to local culture itself. Because the local culture is the basis for the charac-ter of a society as well as the success of an educational attitude parameters.

Local wisdom often called a local genious can be understood as a human ef-fort using his intelligence (cognition) to act and to behave towards things, objects, or events that occur in a given space. This de-fi nition is arranged in etymology, in which

wisdom is understood as the ability of a person in using reasonable mind to act or to behave as a result of an assessment of things, objects, or events that occur (Rid-wan, 2007, p. 27).

Local specifi cally refers to a limited interaction space with a fi nite system of value. As an interaction space that has been designed in such a way that it in-volves a relationship pattern of man with man, or man with his physical environ-ment. These patterns of interaction that have been designed are called settings. It is an interaction space in which one can sort the face-to-face relationships among their environment. A life setting that is directly formed will produce values. These values will be the cornerstone of their relation-ship, or as a reference for their behavior.

For example, local genius that still persist in the life of Javanese is a Javenese psychological notion. This psychology is a kawruh Javenese psychiatric. This includes the volatility of reason, sense, and desire of Javenese people to hold their lives. A Ja-vanese generally lives in psychiatric world (Endraswara, 2003, p. 211). Values of begja, watak nrima and rasa rumangsa are examp-les of local knowledge which generally embrace Javanese people.

The tradition art is a living art tra-dition in the area with a tradition and lo-cal wisdom enclosing. Values that exist in both the background of the creation as well as existing symbols in the tradition art are local tradition alive hereditary for generations.

The cultural values in a particular society are supposed to only be quatifi ed with the local culture rather than other cul-tures. This is due to the reason that somet-hing that is considered to be good in certain communities may not be good in others. Because these values are only produced by a system that is local to a specifi c cul-tural value thus cannot be measured with the system originating from other cultural systems, though it is considered universal. For this case then comes the indigenous psychology that fi rst appeared in the 1970s in Asian region. The core of this study is


into six sections, namely a private functi-on, social, physical, religious, educational, and economical functions.

As one of the cultural elements, art has a function as a reference of action to its supporters. As a cultural system, to meet the needs of aesthetic, art can serve as a re-gulator, manager, or controller in arts ac-tivities. This exists in the traditional arts. As a system, therefore, the function of art is not just usability, but it is meant to fun-ction as something that can be donated on a particular party in a system. The art de-velops and standardizes through the arts of social traditions of a society (Parsons, 1951, Rondhi, 2002, Triyanto, 1994, Rohidi, 1993).

Thus, it is clear that an art would disappear when it is no longer a part of the particular cultural system of society. A particular art tradition will be lost if no longer used for ritual, social events, as well as entertainment. Its current status is not a cause of art to be manifold, one of which is a shift in culture that exists in society such as the globalization era, an era in which the infl uence of technology is so powerful to change society.

Traditional Arts ReogReog, or something like kuda lumping,

ebeg, jatilan, and kuda kepang are already known in the Javanese community. These arts have become a national art which was in the past concentrated to mystical (nda-di, or possessed) as one of its appeals. In fact, groups of Javanese, wherever they are in the world, almost have a group of kuda lumping (Suara Merdeka, 15 September 2012).

If it is seen from the property used, the form of performances, as well as the background of the meaning behind the art, Reog has similarities with other arts. Reog and similar types of art, have players/dan-cers using artifi cial horse made of woven braided bamboo, or animal skin/lumping, then they dance to form such as caval-ry formations, by providing elements of magic as one of its appeals. Sometimes in some areas such as Kebumen, Brebes, and

that psychological theories from the West could not be used as a basis for the study of people from Eastern societies that were local and came from different cultural sys-tems. Kim and Berry (1993) defi ne an indi-genous psychology as the scientifi c study of human behavior or mind that is native, that is not transported from other regions, and that is designed for its people. Today many scientists both anthropologists as well as psychology experts use this as an approach to his research.

METHOD

This type of research is classifi ed into qualitative research using analytical and descriptive writing and ethnomusicology approach. Ethnomusicology is a research approach to understanding the music con-cept of community maker. Researchers can learn to feel, plays, expressed in accor-dance with those of society. The study of music in the context of culture according to Merriam (1964), known as a model for the study tripated Ethnomusicology can be studied from three levels, namely (1) the concepts of music, (2) the behavior of both players and music lovers, and (3) the sound of the music itself. Thus the study of ethnomusicology should also not far from the three aspects in analyzing the data. Techniques of data collection by inter-view, observation, and documents. Data were analyzed with the interactive analy-sis technique of Miles and Huberman with the ethnomusicology research approach.

RESULT AND DISCUSSION

Functions of Traditional Arts in Human Life

The emergence of art, whether non-physical or physical arts has functions for human beings or their lives. Art has taken a role in the progression of human civili-zation in the world since prehistoric times until the contemporary. Thus the function of art can vary in line with the human ci-vilization. According to Chapman (Setia-wan, 2012) the function of art is divided


elsewhere add barongan and penthul as an integral part. In Ponorogo, this kind of art has become a magnifi cent show with a ful-ly equipped property with the name Reog Ponorogo .

This art has exist and continue to be preserved for generations without being known who and when fi rst played. Ne-vertheless, the community support this kind of art and consider that it is part of their life as an aesthetic expression, the ex-pression of joy, anger, a sense of mutual, even a sense of nationalism or heroism.

Of the form of the show, this art ref-lects the expression of an egalitarian so-ciety, but also patriotic. As well as other folk art, this is not art since the feudal ap-pears as reverence and devotion the peop-le on him (The King). This art appears as if the supporters are already aware of their positions just as the commoners. It can be seen from the meanings in any parts of the show that are fi lled with symbols. The role of Barongan (or Barong in Brebes) symboli-zes a King or a leader who has the right to receive money (tribute) from the audience, and the role of penthul as a symbol of the king’s advisers, who despite his small but highly appreciated by the king, or other players.

The interesting part of this art per-formance events is ndandi after the ritual of burning incense. People who perform this ritual should be considered a qualifi ed person as it is considered for the suppor-ters as an important part that do not mess around. The ritual of burning incense sym-bolizes the beliefs of the ancient Javanese that still believed in animism and dyna-mism as well as the infl uence of Hinduism. In some particular areas, it is a symbol of devotion to God that shall pray for sal-vation. In fact, kuda lumping in Brebes is to summon spirits. It could be either the ghosts of deceased ancestors or deceased animals. While in the areas that are still close to the palace of Surakarta and Yo-gyakarta, the ritual of burning incense is a symbol of prayer or asking for help on satyrs or ethereal (especially those consi-dered to be good) to help the fi ght like in

the story of the show. The cavalry troops depicting brave Mataram troops still have to get reinforcements from the invisible army of Nyi Rara Kidul in each battle. At least, that is the myth that Javanese com-munity believed that this kind of art was expressed in a scene of burning incense in the show (Ananda, 2011).

Reog Art as Expression and Art Apprecia-tion of SMK Pringapus Students

The state vocational school of Prin-gapus is located less than 15 km from the downtown of Semarang Regency to the east. This school is built on hilly ground which is not much different from the hil-ly environment surrounding area. Most of the students come from the surroun-ding areas close to the borders of Boyola-li Regency, Grobogan, and Salatiga. The school is located on the outskirts of the city that was originally set up to accommoda-te people from the outskirts of the city to meet the needs of the garment industry that happens to set up around the area garment industry. One of the departments in this school is fashion, and the others are the engineering automotive to motorcycle and multimedia.

The subject of Arts and Culture is one given in each class which include music, dance, and visual arts. However, since the-re is only one teacher whose educational background is music, then the music class is more dominant, although it only lasted a few years. Next, the teacher is doing inno-vation as the response to students that the music lesson is less encouraging. The lack of a good response from these students is more because most materials are pre-sented a lot of Western music notation and other types of diatonic music. Whereas a lot of students are from the communities that cultivate the traditions of art like Reog. Finally, the author, as one of the teachers of the Art and Culture utilize Reog as a medium to convey the material of culture and arts, ranging from theoretical studies to showing Reog presentation at the school by students.

Reog is a traditional art that has


existed for decades in the region. Many Reog groups are establieshed in this region and frequently perform for both institu-tions and individuals. Reog similar art with jaran kepang, jathilan, ebeg, and reog Ponoro-go remains a kind of art that is in great de-mand by the local community. Every show is always attended by hundreds of people around.

Reog performances in school is one of the programs that is always done in state vocational school of Pringapus. In addition to channel students’ interests and means of expression at the arts, it is an effective medium in learning culture as well as gro-wing sense of social solidarity and national unity. Reog performances in the school are expected to be used as a means of instil-ling a sense of solidarity, mutual aid, in addition to the symbolic values of heroism that exist in Reog. Because it is a symbol of heroism which describe the gallant troops who drive horse (Interview with Sunoto, the leader of Reog Turonggo Jati, dated May 25, 2013).

The performance of tradition arts in school can also instill values directly to students through the expression and ap-preciation activities like Reog. Cultivating of mutual respect over the tradition arts by the students is also a concrete manifes-tation forms of multicultural lessons for students. The cultivating of multicultural education is suitable provided through arts can be very effective if properly ma-naged (Ambarwangi, 2013, p. 78-85). Stu-dents who play and watch alike learn through the performing tradition arts like Reog. When playing Reog they can directly express the arts and feel a sense of solidari-ty and togetherness, mutual trust, mutual respect while coordinating these perfor-mances. Likewise, students who watch. They can appreciate it, and can appreciate friends who enthusiastically express the tradition arts.

Being Reog player in the community in which they live is a pride, they do it with no shame to show that expression in the school environment. With these values are believed to be good and proven over deca-

des this art still exist. They enjoy the show including the performance of possessed or ndadi. Nevertheless the ndadi is less vulgar when performed at schools.

Figure 1. Vocational High School students Playing at School

Ndadi or possessed is a highly antici-pated attraction by audiences in each per-formance of Reog, jaran kepang, and many others. According to Sunoto Parmin, a handler of Reog Turonggo Jati Pringapus, the type of ndandi can vary depending on the spirits called. The ghosts could be the deceased animal spirits, genies/demons, and ancestral spirits. If the spirits are sum-moned by the handler the spirits of the animal, then the dancer will behave like animals so they can eat the leaves or climb trees very quickly like a monkey. The aut-hor can see when viewing the show of Reog Turonggo Jati group. A dancer suddenly climb the coconut trees around the area of show very quickly as a monkey.

Figure 2. Players who take her clothes off and dance for ndadi


The performance of ndadi at schools can be packed solely for entertainment and a means of artistic expression for the stu-dents. The deceased animal spirit can be summoned so the performer only eats the leaves. However, according to one of the dancers, Faisal, this ndadi can pretend if his intention is simply to entertain. If you do not believe the incident, ndadi will not hap-pen; all happened is pretense. However, if the offender believe it, then he will actual-ly be possessed. And have a professional handler who can do that, either when ma-king ndadi to healing or reviving.

Value of Local Wisdom in Reog and its Functions in Pringapus

Ndadi can possibly happen as the spirits are called and enter the soul of the player when the handler prays to call. Praying to summon spirits and burning in-cense is a symbol of faith to always pray to God. According to one of the religious lea-ders, Qozin (35) most of the communities around the Pringapus sub district is not real Islam (Islam Abangan). Animism and dynamism as well as very strong Hindu infl uence are in their spiritual lives.

There are distinct positive values in the show either it is done at school or in the community where this art came from. Positive values in the school have been discussed in item 3.1 above. The existing values in the community can be felt when the author made observations and inter-views with the leaders and performers on the fi eld. The reception was very friendly and enthusiastic as one evidence that ap-preciate the guests is one that should be done by every citizen. Even the author was given the freedom to cover every show without any interference from the dancers on the stage. Another positive value is that the players supporting a group totaling 40 personnels very easily coordinated by the group leader. Their solidarity is very high. They never compete in the income prob-lem. Often the money the group received ranges from 3 to 4 million per show to be saved for the group once. That money could be used for social activities of the

community. Even the way the money can be obtained dues to every citizen, especial-ly if the response is in order along with ri-tual and celebration events like merti desa.

From the explanation above it is clear that the art community for the Reog Pringapus supporters has social functions. Collecting societies in which they mutual-ly interact in a single art activity they like and most of them simply do not get any rewards are strong evidences of the local community to commit to building a society and its culture. And, this will make the tra-ditional art Reog will continue to exist in this area.

The care of the society has been proven when recruiting many teenagers involving to be dancers. It proves a gre-at support from the community towards art to remain sustainable. Moreover, the music players and the dancers are mostly from students of the state vocational school and the ones graduated from the school in which the author serves. It will be a very natural model of inheritance, in addition to the continued support of education in holding Reog performances in the school environment with special packaging for the world of education.

CONCLUSION

Reog in the region of Semarang District still exist since there is good sup-port from all elements of the community supporters, local governments, as well as the education world. However, another element that stands out is because of the functions of art to the community. Those functions such as for personal aesthetic needs, the social needs as a means of in-teracting with others in order to meet the social needs of collectivity, as well as spi-ritual needs, and cultural functions. These functions work systematically to establish a separate system to create harmony in the society in the Pringapus district. If the va-lue of harmony is drawn into the world of education, it will give a positive effect. The show runs well since it is maintained by the community, can be the lesson and lear-


ning in schools. These values, in addition to other positive values, can be packed into one of the cultural arts media, in which the role of the Cultural Arts lessons can be very strategic to build the characters of students.

The implementation of Arts and Cul-ture subject by bringing local art that is believed to contain local wisdom in Prin-gapus vocational schools is a synergistic effort due to the fact that most of the lear-ners are also the actors of these arts in their areas. The duty of teachers and education units is to relate it in the management and selection of material, so it is completely consistent with the objectives of art edu-cation in the public schools as a means of appreciation, creation, and expression for students. Thus, an art education has a special purpose to be really useful in the framework of achieving the objectives of education in general.

The results of this study can be used as an input in order to fi nd a learning mo-del of the Arts and Culture on the basis of local wisdom of the area where the school is located. Therefore, it is necessary to hold a comprehensive study covering all aspects. Those studies could be Classrom Action Research (CAR), School Action Re-search for the supervisors and principals, as well as a cultural research. This is so for the results of this comprehensive study in fi nding the results of a learning model that is suitable for learning Art and Culture subject in schools.

REFERENCES

-Alik, S. (2013). Fungsi Seni dalam Kehidu-pan Manusia. Retrieved http://alixbu miartyou.blogspot.com/p/biografi.html. May 15, 2013.

Ardipal. (2010). Kurikulum Pendidikan Seni Budaya yang Ideal bagi Peserta Didik di Masa Depan. Jurnal Bahasa dan Seni. 11(1).

Ananda. (2011). Ebleg Akar Kesenian Kuda Lumping. Retrieved http://adisu-listyo.wordpress. com/2011/05/06/ebleg-akar-kesenian-kuda-lumping-ebleg-the-root-of-traditional-kuda-lumping-dancing. May 16, 2013.

Campbell, D. (2001). Efek Mozart bagi Anak-anak. Jakarta: Gramedia Pustaka Uta-ma.

DePorter, B. & Mike Hernacki. (2000). Quantum Learning. Transalated by Alwiyah Abdurrahman. Jakarta: KAFIFA

Dewantara, K.H. (1977). Pendidikan Bagian Pertama. Yogyakarta: Majelis Luhur Persatuan Taman Siswa.

Endraswara, S. (2003). Mistik Kejawen: Sinkretisme, Simbolisme, dan Sufi sme dalam Budaya Spiritual Jawa. Yogya-karta: Narasi.

Gardner, H. (1993). Multiple Intelligences: From Theory to Practice. New York: Basic Books

Kim & Berry. (2006). Indigenous and Cultur-al Psychology: Understanding People in Context. New York: Springer.

-Mack, D. (2005). Musik di antara Seni dan Politik: sebuah Dilema Abadi. Peng-antar dalam buku Ismail Marzuki Musik, Tanah Air dan Cinta. Jakarta: LP3ES

Merriam, A.P. (1964). The Antropology of Music. Bloomington: Northwestern University Press.

Permendiknas, RI No 22 Tahun 2006. ”Tentang Standar Isi untuk Satiuan Pendidikan Dasar dan Menengah”. Jakarta: Depdiknas.

46

ARSIS AND THESIS: A REVIEW OF TWO ELEMENTS OF RHYTHM IN NON-TRADITIONAL MUSIC WRITTEN

BY F. H. SMITH VAN WAESBERGHE D.J

SunartoDepartment of Drama, Dance and Music, Faculty of Languages and Arts

Semarang State University, IndonesiaE-mail: [email protected]


Abstract

This paper aims to discuss the comparative terms of arsis and thesis in the study of Western mu-sic. The purpose of the study is to study the forms of music from the terms of language and its application, because there are many elements of music that are not understandable. Method of this study uses classical literature and musicology approach in which the great phrase rhythm of Gregorian music was more appropriately take a literary term; arsis and thesis. The focus of this study is to discuss the terms of Arsis and Thesis used in the section of rhythm elements of non-traditional music. This study reveals several musical terms in which there are similarities and differences between the rhythm and bars of music. The similarities and differences in the analysis are based on the history of Western music from Gregorian music. Gregorian was monophonic music that still existed in Europe until the 19th century. There were only two phrases in Grego-rian music; when the melody moved up and when it moved down. In this case, there were two main elements in Gregorian music; they were different in rhythmic and they were in one rhythm of music. Arsis is a hard melody while thesis is a soft melody. It could be said that arsis and thesis are also parts of the dynamics form of music work. Keywords: arsis; Thesis; music rhythm; non-traditional music.


Keywords: arsis; thesis; music rhythm; non-traditional music


p-ISSN 1411-5115e-ISSN 2355-3820

appropriate when Jaap Kunst begins his inquiries about bars of music and rhythms with a note: “There are no similar opini-on from two experts of music theory about bars of music and rhythm ... This is the con-clusion of the terms “rhythm” and “bars of music” (Kunst, 1950, p. 1). So, even though this essay discusses a rather abstract prob-lem, it is still an actual problem today. It is really important for any music fan, both young generation and the older one.

These are the reasons why we choose ‘Arsis’ and ‘Thesis’ as the subject of this es-say. We begin our investigation about the essence of rhythm and non-traditional mu-

INTRODUCTION

In the fi rst reunion of the alumnae of the Academy of Music Indonesia (AMI), the Chairman of the Academy asked us to prepare an article on non-traditional music. We decided to choose rhythm as the main discussion of the essay, because in our opi-nion, this is a very useful information, es-pecially for music lovers. Rhythm can be considered as “the most basic element of music”, according to D’Indy (D’indy, 1902, p. 2021). In addition, scientifi c discussions about the essence and embodiment of the music rhythm is not yet fi nished, so it is

Sunarto, Arsis and Thesis: A Review of Two Elements of Rhythm in Non-Traditional ... 47

sic with a short division of the whole sub-stance of this essay. At fi rst we will conduct an analysis of the ‘experience of rhythm in general’ and ‘experience of rhythm of the music’ in specifi c. We focus primarily on the rhythm composition according to its concrete existence, including its all aspects. We call this rhythm as great rhythm, which exists in a whole music sentence.

The second analysis is about the composition of the macrocosm of ‘entire music phrases’ which consists of at least two basic parts, namely ‘Arsis’ and ‘The-sis’ which we will fi nd a song, later, in the microcosm or ‘concrete relation between tone and tone’. In this case, as a consequen-ce of our investigation, we will explain the difference between small rhythm and arran-gement of bars of music.

Finally, we hope that peole can make use this analysis to practice music lively, and then we refl exively focus on ‘rhythm experience of the entire melody’, both being played, or sung. As a consequence of the investigation, we cover the essay with the formulation of some basic theory about the rhythm of the music.

Rhythm ExperienceWe may not be able to experience

the rhythm of the music in its purest sta-te such as; when we are standing on the beach looking something that is called by Claude Debussy (1862-1918) in its compo-sition La Mer: Jeux de Vagues, “waves play”, it turns out that the ocean continuously moves characterized by the up-and-down movements. The term ‘rhythm’ in various foreign languages is based on the Greek verb, rheoo (Lidell and Scott, 1953, p. 1576), which means “to fl ow”, then we can easily understand that by looking at the waves of the ocean, we can fi nd some basic charac-teristics of rhythm.

But in that way, it has not been speci-fi cally described about rhythm as a subject matter of our investigation, namely rhythm and music. Rhythm in a state of a bit music as we see in the ocean waves and as also happens in music, for modern people, it’s no longer experienced as a symptom of

rhythm. Why? At least since the 15th cen-tury, non-traditional music is no longer arranged according to the principles of rhythm, but it uses a different principle called ‘bars’ or “metrum”, a Latin term meaning “count” (Lewis and Short, cab-bage 1951, p. 1141 b). So, for a music fan of the 20th century, it is very diffi cult to imagine the rhythm of the music. In gene-ral, he focuses his attention on “bars of the music”.

However, we can experience the rhythm of the music purely if we focus our attention on the beauty of its compositions within melody. For example, Aria from Sui-ta D Major, an essay by JS. Bach, or Aria from Suita Holberg, written by Edvard Grieg. In fact, the most obvious example of the true music rhythms is found in vocal music for one sound only. We know that non-traditional European music evolved on the basis of vocal music that its aesthetic values are highly appreciated by famous compo-sers, including Mozart (1756-1791) and Paul Hindemith (1895-1963). Whereas, the two composers lived different times and also compose the different style of music. So, as an example of a true music rhythm, we will analyze a sentence or phrase melo-dy of Gregorian music (Plainsong), a single music in Europe until the 19th century.

As well as the rhythm experience of the ocean before, we fi nd out that the rhythm of the Gregorian melody was ap-parently characterized by up-and-down movements, but the tone stream has a start and an end. Many Gregorian songs begin with a tone and rises to a peak of the tone; then goes down to the early tone, to put an end of the whole movement of the melody, as well as to achieve the aimed tone in re-creating a calm atmosphere. Therefore, the classical structure of the Gregorian melo-dies refl ects the same thing as the rhythm structure that we fi nd in the previous oce-an-rhythm analysis. We can distinguish two main parts on the phrase of Gregorian music: the fi rst part is equal to the time when the waves move up, the second one is when the waves move down. In other words: there are two main elements which


are different on rhythmic in the sentence of Gregorian classical music, and thus, both of those main elements form a movement of complete great rhythm. So, it’s defi nite-ly right when the rhythm of great phrase of Gregorian music uses famous terms of classical literature, namely “Arsis” and “Thesis”, moreover when these two Greek words are used according to the basic meaning, namely: ‘ lift ‘and’ put ‘(Lidell and Scott, 1953, p. 248 col a and p. 794). In the rising part, the tones are rose to its peak, aren’t they? And in the down part, the tones, as if, are put in a quiet place gent-ly, aren’t they? It’s understandable that the music phrase also uses the terms “Arsis” and “Thesis”. The “arsis” of melody does not only show a rising line movement, but they are also rather strong and somewhat short, especially when compared with the part of tension releasing of the melody, right? And vice versa, “Thesis” musical sentence: it does not only show a descen-ding melodic line, but it is also a dynamic which reduces its power until it runs out, and takes more time than “Arsis” , right?

Thus the macrocosm structure of the Gregorian melodies is arranged of at least two basic elements of rhythm, namely: “Arsis” and “Thesis”. Both main elements of great rhythm is not only different on as-pects of melody direction, but also on as-pects of length and dynamics of both of the great rhythm.

When the conclusion about the ar-rangement of a great rhythm has been well received, we can begin the second phase of our investigation, namely the arrangement microcosm rhythm or “concrete relation between tone and tone” because the who-le and the unity of the melody are valued higher than the refrective knowledge of small rhythm or microcosm. On the cont-rary, if there is no awareness and know-ledge about small rhythm, people can’t play music although the composers arran-ge it beautifully. Therefore we will explain that small rhythm also has the elements of “Arsis” and “Thesis”, and compare this rhythm with “bars of music”.

Analysis of Small Rhythm The new stage of our investigation is

a continuation and application of analysis conducted on a great rhythm before; then, we begin with some observations about the composition of the small rhythm of Gregorian music. Then we will complete this information with a little investigation on small rhythm of other music.

We need to discuss it fi rst because of the assumption that small rhythm is based on tone in which its time can not be divided. In other words: an analysis of a small rhythm starts with the point of “atomic time” or the Greek term, prootos Chromos (Lidell and Scott, 1953, p. 2009, a cabbage), means ‘time base’ which under-lies the whole system of music. Therefore, “small rhythm” can only be formed by adding at least two ‘atomic time’ or tone that can not be divided (Kunst, 1950, p. 9; Badings, 1959, p. 41; Hood, 1971, p. 35). In modern musicology, this rhythm is called additive rhythms’ (Sum Rhythm) or synthe-tic rhythms (Rhythm which is used as one). Then it should be noted that small rhythm is different from rhythm, based on the to-nes that can be divided (into half, quarter, eighth, sixteenth, and so on).

This rhythm is called divisive rhythm, means that the rhythm with down distri-bution of rhythm, or also rhythm analytical, means: rhythm that needs to be investiga-ted in details (Kunst, 1950, p. 8-9; Badings, 1959, p. 41; Hood, 1971, p. 35). As a con-clusion of a small rhythm or synthetic rhythm based on the time which can not be divided (atomic time) , should be no-ted here: it needs, at least, two time uni-taries to form the simplest rhythm. Then the rhythm consists of two tones is called single binary rhythm, means “one second”. When the rhythm consists of three basic unity of time, which is of the three tones, we use the term lineer single rhythm, means “one third”.

We just talk about a small rhythm of Gregorian music in terms of length tones that forms melody. The composition of the macrocosm rhythm will be found in the microcosm rhythm or in the relationship


between one tone and the next tone. It me-ans that there are “Arsis” and “Thesis” in small rhythm, there is a rising melody mo-vement which become stronger and faster, and then goes down to be slower and qui-eter. We receive this information from the founder of singing method of Gregorian, called “solemnes method”, i.e. Dom Andre Mocquereau OSB (1849-1930). In the most basic time of “solemnes method”, which is entitled Le Nombre Musical Gregorien (Tour-nai: Volume I, 1908; vol II, 1927) artists and music paleography experts explain, as fol-lows:1. True rhythm of movement always

starts with an Arsis that is in the small rhythm ternary disobel, and ends with a Thesis that can never be disobel but can be followed by one Arsis again.

2. Arsis is always tense, on the other hand, Thesis is a relaxation.

3. Arsis is strong, means bre-cresendo; ot-herwise Thesis is soft or decrescendo.

4. Generally, Thesis needs more time than Arsis.

5. Arsis melody is called a tone when it is followed by a lower tone; the second tone is called Thesis melody.

It might be surprising that we do not fi nd the terms “accent” or “pressure” in the whole description of Gregorian. The theories of Dom Mocquereau also uses the common terms, not technical terms, so it is rather diffi cult to understand the accents as found on other music that is not rhyth-mically free. Inspite of the lack of authentic information about the Solemnes method, we should remember that, at least, imp-licitly there is an accent on the Gregori-an small rhythm. It is said that an Arsis is tense, strong, and shorter than a Thesis, then it can be called that this rhythm secti-on is accented, without any danger of this pressure will be equated with other ac-cents in the other music. Even the nature of the Gregorian accent becomes truly appa-rent, when someone plays the Gregorian melody, the Arsis melody is accompanied by Arsis dynamics. Thus, the structure of great rhythm movement is refl ected per-fectly in a small rhythm arrangement. To

avoid misunderstanding about the type of accent here, it is better if we use the term of ‘ Arsis accent’. While accent which is discussed later in the rhythmical music is called “Thesis accent”, Dom Moncquere-au reveals specifi c characters of Arsis and Thesis in a small rhythm of Gregorian by giving the name ‘elan’ and “repos” which means (roughly) as “preparation move” and “peaceful” or “relaxation”.

So far, we only talk about small rhythm in its simplest form, i.e. single rhythm, either binary or triner. The most important thing is the relationship bet-ween one small rhythm and another one, or rhythm compound (In French Dom Moc-quereau use the term le rhyme compose) (1908, p. 80-90). We will limit our discus-sion on two principal aspects of this com-pound rhythm, which will be completed in the third section, and we will focus our attention on the rhythm experience of the melody.1. It should be noted that the rhythm of

melody also begins with an Arsis and ends with a Thesis.

2. The existence of ‘Arsis’ compound rhythm depends on the structure of the entire music sentence that can be divi-ded into a number of small rhythms. Because there is a close relationship between the structure of melody and the composition of this compound rhythm, it’s better to discuss the desc-ription of the more complex rhythms in the last part of this essay.

Before we focus on great rhythm, we need to check the small difference bet-ween small rhythm and bars of music. Bars of music begins in the Middle Age, becomes more powerful in music, so, it is easier for us to feel it than a small rhythm. To clarify the differences between small rhythm and bars of music, please pay attention to the meaning of the term bars of music or ‘met-rum’: The Latin word metrum is based on the Greek word, metron, means: “size” or “count”, right? “(Lidell and Scott, a cabbage 1953, p. 1123). It’s different from the word “rhythm” which in Greek means “princip-le of movement” or “dynamic”, the word


nature of Thesis accent is that it requires longer time than Arsis (Remember to num-ber 4 on the description of the “Method Selomnes” earlier), this trait is strengthen when the fi rst pitch is widened. In other words, both small rhythm and bar of music always begin with an accented tone: but those accents are truly different. The diffe-rence between these two types of accent is shown when a conductor gives command to Gregorian songs and to music of non-Gregorian. We should remember the ex-planation in “Le Nombre Musical” about Gregorian music directors. In the second volume of article 13 and 14 Mocquereau explains special knowledge about Grego-rion directors or cheironomi, means that the rule or the command by hand (Mocquere-au, Volume II, 1927, p. 684-750).

We know that the hand command up-wards is an expression of “arsis” which is important in Gregorion rhythm. Maybe the differences of Thesis accent and Arsis accent can also be seen in the dynamics embodiment which becomes refractive in a non-traditional music, since about 1750. The dynamics of the baroque era is “regis-ter dynamic” which merely distinguishes between forte and piano. Moreover it be-gins with the German style of music called “School Manhheim”, this register dynamics is replaced with “transitional dynamics”. Since the Romatik times then, people have been accustomed to an embodiment of the dynamics of music which is really not static anymore, but obviously is dynamic, means: the nature becomes a little bit hard from piano to forte, and conversely it sof-tens from forte to piano. If someone wants to use the ‘Thesis’ accent to reveal the mo-dern dynamics, the Thesis accent should include a small and short decressendo. On the other hand, Arsis accent needs to ex-press a Cressendo. Kunst (Kunst, 1950, p. 8), wrote that he had read a surprising sen-tence in Handbook of Harmony, that is: Ar-sis is also alled Thesis, and Kunst continued his writing: “The author does not capture the ultimate meaning of these terms.” So, in the same essay, Jaap Kunst explained: “Arsis and Thesis are opposites in essen-

‘bars of music’ expresses free principle and it’s static. In addition, bars of music or count principle focus on the length of a tone and musical time, not on dynamics. In ancient times, the term “metrum” is used to set the classic poem, for example in Greek drama, sentences with short and long syllables must be arranged according to one of the “metron”, line by line: long-short-short-long-short-short, or short-long-short-long. In other words, previously, “metron” does not arrange stress or accent, but the time and the length of syllables. Therefore, it is natural that the term “metron” or “bars of music” is used to measure the time of music. And even on a rhythm system, that kind of measure can be very benefi cial. Because the bars of music expresses the good order aspects in music, so this factor may be vie-wed as an expression of the human being in music, based on the body and especially on the soul (Badings, 1959, p. 41).

But if the principle of bars of music is previously used to organize and measure the length of the tones, this does not mean that there is no relationship between bars of music and stress or accent. In the develop-ment of music, bars of music also sets the tone accents, this can be seen in the lines of vertical bars which fi rstly appeared in the music manuscripts in the 15th century. And the development of the main featu-res of bars of music is also justifi ed in va-rious books of modern music theory, such as Emotion and meaning in Music, Written by Leonard B. Meyer (Chicago, 1965). It should be emphasized that the difference between the principle of bars of music and rhythms is on dynamics aspect. Indeed, bars of music are divided according to bina-ry and ternary, as well as in a small rhythm. But, it needs to emphasize the difference between the two principles of music mo-vement, they are: there is always a Thesis (not arsis) at the beginning of bars of music. The fi rst blow of bars of music is always accented, and this accent is totally diffe-rent from that of Arsis Greorgian music. It’s just the same as the conductor gestures direct the fi rst blow of bars of music down-wards, so this is a bit heavy accent. The


ce “(1950, p. 8). However, this does not mean that rhythm and bars of music are op-posites! People emphasize the differences between the two elements of the melodic movement, both of this music factors are completed and strengthen to each other. Although Arsis and Thesis have different accent, even in free rhythm, such as in Gre-gorian music, it doesn’t need to refuse bars of music factor. In the last number of this essay, we will discuss free rhythm which can be accompanied by the composition of free “bars of music”. Meyer, as quoted abo-ve, inserts a selection of fi ve types of bars of music which is used in ancient times to prepare the Greco-Roman classical poet-ry. These fi ve types of bars of music is used to describe the structure of the simplest rhythms and bars of music (Mocquereau, Volume II, 1927, p. 1-40; Howeler, 1952, p. 154-157 (+ Table II: Lengte en sterkte metra); Meyer, 1965, p. 103).

This is a conclusion of the difference between rhythm and bars of music that can be formulated as follows:Bars of music can only be aranged by binary or ternary bars:trochaeus : Long-shortdactylus : Long-short-shortjambe : Short-Longanapaestus : short-short-longamphibrachus : Short-long-short

We still need to discuss the difference between accents of ‘Arsis’ and ‘Thesis’ be-fore we close the chapter on a microcosm of small rhythm, particularly the problem of the difference between small rhythm and bars of music composition. When a per-son wants to summarize the entire history of rhythm development of non-traditional music, it will be strictly distinguished into three stages, namely:1. Free rhythm (in Georgian music)2. A rhythm called “fl ying rhythm” (in

classical polyphone music). There will be an explanation about the difference between Arsis accent and Thesis accent),

3. The rhythm is bound to the same bar of music.

The second rhythm, fl ying rhythm, is a privilege of polyphone music of the 16th

century. Its specifi c is that the fi rst blow of bar of music does not occur at the same time for each sound, so, sometimes the rhythm seems a true poly-metric (Kempers, 194790-91). The problem of rhythm of the music of the Middle Ages which was not mo-nophon but true polyphone, was getting diffi cult because people generally assume that the accent should occur on Thesis only. Therefore, the Thesis accent is often said to be occured in a heavy rhythm section. But, historically, the music of the Middle Ages is directly based on the free rhythm of Ge-orgian music, so, it is not surprising that the ‘Arsis’ accent also often play an impor-tant role, in other words: it’s not true if the compositions of fl ying rhythm are added with the lines of bars of music (which at fi rst did not exist in Middle Age manuscripts). Due to the presence of bars line, the fi rst sign in each bars of music is called tactus means “touch”. This kind of interpretati-on is developed when polyphone music is replaced by a new musical style, that is ‘monodi’. Thus, the term “fl ying rhythm “ is often equipped with the term “freely”, to express clearly that the rhythm of the monophon Middle Age music, i.e. “free rhythm”, is different from a rhythm that is bound to a fi xed bars of music system.

Then we will discuss about the desc-ription of the great rhythm and melody. Synthetically, we get closer to the gre-at rhythm of the melody, based on small rhythm analysis

Experience of Synthetic-Refl exive Great Rhythm

As stated at the beginning of this essay, the analysis of the second part are rather abstract and is only intended as a principle; then as the third step, it needs the analysis results of small rhythm to be confronted with a practice of live music. Indeed, people of the 20th century are ac-customed to experiencing great rhythm structures by bars of music. Then the desc-ription of the third part will justify the practice of music. It is stated earlier that both rhythm and bars of music are different but they are complete each other, right?


This assumption is very clearly stated by Meyer in his book. Meyer, a professor of music from Chicago University, explains how the same bars of music, for example in three quarters, can be used in a varie-ty of different rhythms! Menuetto of the fi rst Simfoni composed by Beethoven uses a very clear melody, that is jemble rhythm (short-long), while Menuetto of Symphony no. 94, composed by Haydn (mit dem Pau-kenschlag or “by surprise”), uses a melody with amphibrachis rhythm (short-long-short). Though this Menuetto is based on the classical bars of music for Menuetto, that is three-quarters, but we can see in the second example that there is a composi-tion of melody, which change its rhythm started on the third amphibrachus, and suddenly it’s replaced by jemble rhythm (short-long) which is added with anapa-estus (short-short-long). These examples prove, that freedom of rhythm and the ac-curacy of bars of music strengthen the beau-ty of the synThesis of the two factors of this music, it means, it does not interfere each other.

According to Ir. H.H. Badings in his book Charles Lalo: Elements d’une Eshe-tique Musicale Scientifi que, one person might be more interested in a clear met-rum, as we fi nd in music with a rather free-ly rhythm, as the tendency of the romantic era music. But the tastes just show anacci-dental differences in the actual assessment. In other words, the tastes differences show a different accent, not an absolute contra-diction. In terms of its efforts to complete and to balance each other, it can be justi-fi ed that the classical defi nition from the fourth century BC, that is: “Rhythm is fl o-wing bars of music; bars of music is a rhythm that is tied to a particular form” Thus: Fla-vius Sosipater Charisius in his essay: Ars grammatica, means: grammatical science.

To achieve the purpose of balance, both small rhythm and bars of music should play role seriously in the whole melody. In other words, the basic elements of music should participate as a composition factor in the establishment of great rhythm of the whole melody. It may be said that bars

of music and small rhythms contain only the materials, which must be souled and brought to life by melody! This is why the famous conductors pay special attention on the structure of the melody as a whole, taking into account the whole ‘Arsis’ and ‘Thesis’ either harmonious or agogis. Rela-ted to this fact, I remember an interview of the conductor of the orchestra “Concertge-bouw Amsterdam”, Eduard van Beinum, when he was pointed as the orchestra con-ductor. To the question: Which principle do you take to conduct the orchestra, he answered: “I heard the composition of the melody to be played, and that melody becomes the inspiration to conduct any orchestra”. The awards of high melody is also found on the famous Switszerland conductor, Ernest Ansermet, who was in an international meeting between artists in the city of Geneva in 1948 states the follo-wing: “The melody was not only the fi rst factor for the music to be occur, but rather a natural event inside that is continually occur”, a statement that is asserted in the book Acrits sur la Musique (Neuchatel (Switzerland), A la Bocanniere. However, small rhythms and bars of music can not be souled fully and deeply, though it is ai-ded by its melody as a whole, if the rhythm and bars of music are not meant as ‘Arsis’ and ‘Thesis’. It is important to notice the distinction and the comparison between the two levels of the music, which is at a basic level or a microcosm of rhythm, as well as the whole melody. Both levels are not separate reality. Both levels are new patterns that would reveal the full ability, when seriously considered both the melo-dy as a whole, as well as all the elements of rhythm and bars of music inside it, based on a careful analysis.

Based on this conviction, and especi-ally descriptions we provide in section IV of this essay, it is time to end the investiga-tion of the essence ‘Arsis’ and ‘Thesis’ in the fi eld of non-traditional music bygiving some statements as follows:

each tone in a particular melody is already ‘Thesis’ or ‘Arsis’!

a particular tone can get a ‘Thesis’


accent, for example, if it occurs on the fi rst count in the bars of music; and it gets an ‘arsis’ accent, if it occurs on an even count in bars of music; therefore, on the ground level, there might not be two ‘Thesis’ fol-low each other directly; it always needs to be punctuated alternately at least by one ‘Arsis’.

‘Arsis’ is always typically characteri-zed by an upward movement of the hands, which are lightweight, short, strong, and usually performed with Cressendo. ‘The-sis’ is always characterized typically by a downward movement of the hand that is heavy, long, hard, and usually performed with decressendo.

CLOSING

This is the end of our investigation of the essence of ‘Arsis’ and ‘Thesis’ as the elements of the rhythm in non-traditional music. We are aware that many problems that are closely related to this issue, now can only be touched. For example, Dr. F.A. Steinhausen: in Die Physiologe der Bogenfuhrung have viewed how ‘Arsis’ and ‘Thesis’ is infl uenced by the vertical harmony. Or: does the information of So-lemnes method about small rhythm pay enough attention to the balance between ‘Arsis’ and ‘Thesis’? Or: do ‘Arsis’ and ‘Thesis’ as described earlier was parallel to how to play the violin with up and down friction?

Actually these kinds of problems are closely related to the subject of this essay investigation. However, in this reunion, it would be wise, if the material is rest-ricted to this subject, because those prob-lems can not be solved only with the few words. Perhaps there is a doubt about the benefi ts of such a vast writing of rhythm in monophon music (= with one voice) of the Middle Ages. But in this case we can quote Prof. Mantle Hood who assess mo-nophon music of Middle Age as higher than the rhythmic music ‘divisit’ as found in all Western music since the Renaissance. The reason is because the monophon mu-sic plays role as an educational tool to be

‘sensitive to the time’.Inspite of the weakness of this essay,

we restrict ourselves to a particular issue in a non-traditional music. We hope that this essay becomes a small contribution to the success of this reunion. And we truly support this activities.

REFERENCES

Ansermet, E. (1971) Acrits sur la Musique, Neuchatel (Switzerland): A la Bocan-niere.

Badings, H.H. (1959) “Rhythm, Tempo en Metrum”, in Encyclopedie van de muziek,Volume II, Amsterdam, Else-vier.

Charisius, F.S. “Ars Grammatica”, in M. Cary CS, (1953), The Oxford Classical Dictionary, Oxford: Clarendon Press, p. 184 col a.

D’Indy, V. (1902). Cours de Composition Mu-sicale. Paris: Durand.

Hood, M. (1971). The Ethnomucicologist, New York: McGraw-Hill Book Com-pany.

Howeler, C. (1952). Rhythm in Vers en muz-iek, The Hague: Mouton & Co.

Kempers, B. (1947). Muziekgeschiedenis, Rotterdam, Brussels: MIY Uitgevers.

Kunst. J. (1950). Metro, Rhythm, Multi-Part Music, Leiden: E.J.Brill.

Lewis, C.T. & Short, C. (1951). A Latin Dic-tionary. Oxford: Clarendon Press.

Lidell, H.G. & Scott, R. (1953). A Greek-English Lexicon. Oxford: Clarendon Press.

Meyer, L.B. (1965). Emotion and Meaning in Music. Chicago: University of Chi-cago Press.

Mocquereau, D.A. (1908) Le Nombre Musi-cal, Volume I. Tournai: Desclee & Cie.

Steinhausen, F.A. (1920) Die Physiologe der Bogenfuhrung. Leipzig: Breitkopf & Hartel.

54

MUSIC EDUCATION AND TASTE FORMINGOF CLASSICAL MUSIC STYLE: CASE STUDY IN CULTURAL

INSTITUTIONKARTA PUSTAKA YOGYAKARTA INDONESIA

Inggit Sitowati Ethnomusicology Majors, Surakarta Institute of Arts, Indonesia,

Jl. Ki Hajar Dewantara 19, Kentingan, Jebres, Surakarta, IndonesiaE-mail: [email protected]

Received: Januari 2013. Accepted: Februari 2014. Published: Maret 2014

Abstract

Karta Pustaka is one of the cultural institutions in Yogyakarta, which has a classical music concert program. The purpose of this study is to describe the history of Karta Pustaka and organizing classical music concerts, the concert format, and its role in supporting classical music education in Yogyakarta. The method used in this study is qualitative research with historical and musico-logical approach.The data are collected by using interviews, documents and observations. Data were analyzed using qualitative descriptions technicians. The results showed that Karta Pustaka as cultural institution has become a classical musicmedia which has a supporting role in classical music education in Yogyakarta. The classical music concert program and classical music work-shop held by Karta Pustaka information and knowledge for the students and people of musical art in Yogyakarta. In addition Karta Pustaka also acts as a forming media and the development of consumer’s classical music tastes and styles in Yogyakarta.


Keywords: karta pustaka; classical music education; andclassical music taste


p-ISSN 1411-5115e-ISSN 2355-3820

cal music expert, states that the medium for classical music appreciation in the community is low (Marselia, 2007). Classi-cal music is rarely shown on television and radio. Classical music is usually shown in the media for special events such as Christ-mas or New Year, and only in some parti-cular media.

Although classical music in Indone-sia are rarely shown in public and rarely aired in the media, there are still fans of classical music. Classical music education in Indonesia is also growing. Many people study classical music formally and infor-mally. Some Indonesian universities also have departments or courses that teach classical music. In Indonesia there are also several vocational schools of music. Classi-

INTRODUCTION

For most people, classical music is one type of music that is not easily under-stood and appreciated (Riadi, 2008). Even classical music is considered as boring and causing drowsiness, because it is diffi cult to understand. It takes time and learning to understand and appreciates classical music. Therefore, people assume that clas-sical music is a consumption for intellectu-als and educated, who are able to under-stand and appreciate it better.

Classical music in Indonesia is a mu-sical genre which is rarely shown and per-formed for people in general. Unlike pop and dangdut which are heavily performed in public. Prof. Andre de Quadros, classi-

Inggit Sitowati, Music Education and Taste Forming of Classical Music Style: Case Study ... 55

cal music education in the form of informal music lessons are also a lot in Indonesia. This fact is a bit contradictory, because classical music is rarely shown, but Indo-nesian peoples interest in classical music study can be summed up to be quite high.

Classical music conditions above are also occurred in Yogyakarta. Concerts and classical music performances in Yogya-karta has less frequency compared to pop, dangdut, or rock. Nevertheless, in Yogya-karta there isa music vocational school, namely SMK N 2 Bantul. The two public universities in Yogyakarta also have a mu-sic department, which are Institut Seni In-donesia Yogyakarta and Universitas Nege-ri Yogyakarta. In addition, there are many music courses in Yogyakarta that have classical music program. It suggests that in Yogyakarta, the interest to learn classical music is quite good.

In the midst of popular music in-dustry and popular music media that fl oo-ded the music market, it turns out there isa media featuring classical music in Yogya-karta. Media that has a regular program of classical music in Yogyakarta isa Kar-ta Pustaka Cultural Institute. This media played a role in the existence and develop-ment of classical music in Yogyakarta. The media has a mission and vision to popula-rize and educate the people of Yogyakarta about classical music extensively.

Karta Pustaka with classical music concert programsin Yogyakarta today be-comes an institution that is consistent in the implementation of classical music. As a media of classical music in Yogyakarta, Karta Pustaka has a role in supporting clas-sical music education world. It also became a media that foster and develop the tastes and styles of classical music consumption among the people of Yogyakarta.

METHOD

This study is prepared using qualita-tive methods. This Qualitative research is trying to fi nd the basis and theory, desc-riptively. Qualitative research is also more concerned with the process and limit the

study by focus (Moleong, 2000, p. 27). The research was conducted by interview, the informant Karta Pustaka director as the main speaker. It is also conducted by inter-viewing several students which are classi-cal music enthusiasts of UGM in Yogya-karta.

The method used in this work is qua-litative research methods analysis-descrip-tive. The method of analysis - descriptive qualitative research produces descriptive data, in the form ofthe written word and spoken by the people who become the object and whom behaviors are able to be observed. This study leads to background and studied individual holistically. So it does not isolate the observed individual in a variable or hypothesis, but saw it as part of all (Moleong, 2000, p. 3). Analysis-descriptive is a form of a depiction from the results data gathered in the fi eld, both oral and written, and then analyzed as the conclusion of the study (Kartono, 1996). This study was committed to the descripti-on of the experiences of the studied object. Researchers trying to get into the world of conceptual object under study, and then to understand and to appreciate how an understanding can be developed by them around events in everyday life.

The subjects of this study are Mrs. Anggi Minarni (Karta Pustaka director) as the main informant. Interviews are also conducted toward several classical music enthusiasts students of UGM in Yogya-karta. They were selected randomly. The students who were selected as the study object or informants come from various fi elds of study, both social study program and exact study program. In addition, the informant came from different social and economic status. The informants who are selected are UGM student who really li-kes classical music, often watcha classical music concert, have collections of classical music, and actively engage in activities related to classical music. The informants also have the ability to play classical mu-sic, in the form of vocals, violin, and guitar.

The Data gathering technique was done by in-depth interviews. With in-


depth interviews, so a complete and detai-led information can be obtained. While the data analysis is done by reviewing the in-formation or data that has been obtained, whether derived from interviews, observa-tions, or from the study of the documents. All obtained data were then summarized and categorized according to the problem and study objectives. The categories that have been classifi ed are then constructed-by qualitative approach into description, which are analyzed and concluded.


The History of Karta Pustaka and Clas-sical Music Concert’s Implementation at Yogyakarta

Karta Pustaka is a non-profi t foun-dation which was established in 1968. The founder of Karta Pustaka was Elisabeth Theresia Vania de Brata, Dick Hartoko, SJ, Luve, SJ, and Supoyo Padmo Diputro. The managers of Karta Pustaka come from edu-cational and cultural background, among others Prof. Dr. Sardjito, Harya Danutirto, Kasmat, andare currently still serving Mr. and Mrs. Kunto Wibisono. Karta Pustaka stands with the support and cooperation of the Embassy of Netherlands (Sitowati, 2009, p. 123).

Karta Pustaka was established with vision, mission and purpose to strengthen the friendship between Indonesia and Net-herlands through culture. It also supports education in Yogyakarta through facilities owned and activities held by Karta Pusta-ka. The activities which are organized by Karta Pustaka cover three areas, namely library, Dutch language courses, and art and culture activities. Arts and cultural activities include musical performances, dance, art exhibitions, discussions, and art performances, which is benefi cial to the community. Karta Pustaka’s operational funding comes from the Dutch Embassy, donors, and contributions from members of the Karta Pustaka library.

Classical music concert is organi-zed by Karta Pustaka since 1970. Classical music concerts held by Karta Pustaka was

initially located at Wisma Meister Djodi Gondokusumo on Jalan Sudirman. In this place the whole art and cultural activities organized Karta Pustaka was held, from 1970 to 1990. Because the contract with this place is fi nished, then the place of the con-cert was moved to Widya Mandala buil-ding. The building is located in Kotabaru, the situation is noisy and crowded, so it is not convenient for classical music concerts. One of the organizers of Karta Pustaka is the General Medicine Faculty’s Deanof UGM, he offers UGM General Medicine’s Auditorium to Karta Pustaka as classical music concert place.

The location of UGM General Medicine’s Auditorium is strategic and the building itself supports implementation of classical music concerts. Because of that, from 1992 to the present Karta Pustaka music concerts is held at this place. When viewed from inside the concert place at UGM, that there is an impression of exclu-sive and elite, such as the attached image of classical music today. But according to the Director of Karta Pustaka, the selection of classical music concert place does not intend to give the impression of exclusive and elite.

Incidentally UGM General Medi-cine’s Auditorium has a nice building, supported by good acoustics for classical music concerts. The location itselfi s com-fortable, not crowded, in the city center, and close to centers of education. These factors are the main reason for choosing the UGM General Medicine’s Auditorium as a venue for Karta Pustaka’s classical music concerts. According to the Direc-tor of Karta Pustaka this is not a reason to make them selves exclusive as the place belongs to UGM.

Jazz then was also held by Karta Pustaka, as people of Yogyakarta hasan interestin jazz music. At the fi rst jazz con-cert was also held in the UGM General Medicine’s Auditorium. But since 2007 jazz concert was held in the auditorium of Atma Jaya University, due to the demand from Atma Jaya University it self.

Musicians who play in Karta Pus-


taka sconcerts are chosen Netherlands’ musicians. They are the best professional musicians and have high quality. The mu-sicians, who perform at Karta Pustaka, in addition to the original Dutch musician, are also some musicians who come from other countries but settled and worked in Netherlands. There are also musicians from other countries who won the classi-cal music competition held by the Nether-lands government.

The musicians who perform at Kar-ta Pustaka’s concerts are funded by the Dutch government. The musicians who are invited to the concert knows that the concert at Karta Pustaka is for cultural mission. They receive a stipend from the Dutch government for concerts and work-shops. But the amount that is paid for con-certs and workshops are far below their standard rates if they perform in concert and commercial workshops. Musicians payment, accommodation costs from their country to Indonesia, administration, and permission from the Ministry of Foreign Affairs are taken care of and covered by the Dutch Embassy in Indonesia. While Karta Pustaka manages concert permit and accommodation costs for the musicians in Yogyakarta (Sitowati, 2009, p. 125).

Although the musicians who hold a concert at Karta Pustaka mainly Dutch mu-sicians, but occasionally, there are Indone-sian musicians who are invited to hold a concert at Karta Pustaka. The Indonesian musicians who are invited has high achie-vement and quality. Karta Pustaka always holdsa concert music of the best and high quality musicians.

Preparation and administration to hold a music concert at Karta Pustakais conducted one year earlier. Even for a very famous musician, it takes two years ear-lier. The Netherland Embassy in Indonesia each year provides a list of activities and art performances to Karta Pustaka. Then Karta Pustaka chooses activities and art performances which are appropriate and useful for the people of Yogyakarta. There are several Dutch cultural institutions in Indonesia besides Karta Pustaka, among

others are, in the cities of Jakarta, Bandung, Semarang, and Surabaya. These institu-tions also received an offer and coopera-tion of Netherland Embassy in Indonesia. The Dutch musician invited and funded by the Dutch Embassy in Indonesia, held concerts in several cities at the same time where there is the Dutch Cultural Institute.

The frequency and amount of the con-cert at Karta Pustaka cannot be determin-ed every year. Because the activities and arts performance is determined by Dutch Culture’s counselor. They have a culture and arts recognition program themselves. The concentration of the type of the cultu-re and art which are displayed also varies every year. If the counseloris a music lo-ver, then the frequency of the concert pro-gram becomes high. But if the counselor does not like music, then the music concert program becomes low in frequency.

Culture and arts recognition pro-gram of the Netherland Embassy itself, among others are, in the form of art, dance, music, traditional arts, cultural heritage, literature, literary, and culinary. Becau-se it has a lot of programs, the program schedule should be shared in every fi eld. In addition, Dutch culture counselor’s in-terest affects the number of the programs. If Dutch culture counselor like music, then the music concert program becomes many. If the Dutch culture counselor does not like music, then numbers of music concerts be-come less.

Before 2000, almost every month classical music concerts are held. At least there are eight programs of classical music concerts hold by Karta Pustaka. But after 2000 the number is reduced the Nether-land Embassy. According to the Director of Karta Pustaka, after 2000 there are many other cultural events which are organized by the Netherland Embassy as an intro-duction and friendship program. Because of that the activities are much more in the form of books related programs which are related to Netherland books. So the music concert program from Dutch Embassy is reduced. In addition, the concentration of the culture is ‘heritage’.


cal music concert.Although the classical music concert

and the atmosphereis created to be not too stiff and not too formal, but still there are watching rules that should be applied. The rules, among others are, it should not be noisy during the concert, cell phones must be turned off or silenced during concerts, applause should only be given when the musician fi nished playing a song, and au-diences should not eat and drink during the concert.

Not all audiences are accustomed to watching classical music concerts and un-derstand the rule sets. Therefore, before each concert begins, the rule will always be told to the audience, before the musi-cians perform. To make the atmosphere less formal, the host tells rule as informally as possible, not formal, not stiff, and with a few jokes. Usually musical concert em-cee at Karta Pustaka is Ms. Anggi, Karta Pustaka’s director herself. The emcee so-metimes announced the rules with funny languages so that the audience does not feel dominated. A warm and friendly at-mosphere is created like watching culture in Yogyakarta.

Classical music concert format at Karta Pustaka is also made like that to eli-minate the images of classical music in the society. All this time the images of classical music in the society is top class music, old man music, it is boring, and the music is elusive. With a cheap ticket, informal and not stiff event format, then the public will accept it easily.

So far, classical music has an image as the music that is diffi cult to understand in society. Classical music was considered high culture, rich man’s music, diffi cult to understand, and boring. Karta Pustaka tries to blur the image by the use of concert format. Not harsh to the audience, delive-red in a way that rules are delivered easily and as fl uidly as possible. So to teach the culture of watching classical musicis deli-vered with ease.

The classical music concert format follows the standards of other types of music format. Standardization is done by

Classical Music ConcertFormat Karta Pustaka Yogyakarta

The formof classical music concert at Karta Pustaka is made to be not stiff or formal, in contrast to the classical music concert standard format. If the standard classical music concert attendances should wear formal clothing, namely suits and evening gowns, the audience at Karta Pus-takacan wear any clothes. According to the Director of Karta Pustaka (Sitowati, 2009, p. 127), the audience may wear torn jeans, T-shirts, and fl ip-fl ops. These conditions are not forbidden for Karta Pustaka.

The event was also held with a fri-endly, warm, and informal atmosphere. This is done to adjust to the culture of mu-sical performances in Yogyakarta which is relaxed. The culture of watching in Yogya-kartais different with the culture in Euro-pe. In Yogyakarta gamelan and wing can be watched while eating and drinking, sitting cross-legged, with kinship atmosphere. So Karta Pustaka also does not make the con-certs as formal as concerts in Europe. If the seat is full and there arestill audiences who have not got a seat, they are permitted tosit on the ground in front.

According to Hauser (1974, p. 550), high art tends to only be enjoyed by the cultural elite and the like. In general, there is high demand in the high art that the art has a high aesthetic value. Second, folk art usually enjoyed by rural agrarian society. But in folk art, it is diffi cult to separate bet-ween creators and connoisseurs of art. Be-cause folk art is collective result, although initially it is generated by individual. Folk art is the creation of individual who belong to a lot of people. Folk art in general is not required to have high aesthetic value, be-cause it is spontaneous.

Because ofthe differences in the es-sence of high art and folk art, then the pro-cedure is also different. In high art, music are seriously and formally performed. While in folk art, performances are more relaxed, familiar and familial. Both of this cultural washing procedure are adopted by Karta Pustaka in their format of classi-


Karta Pustaka is in its presentation. Stan-dardized presentation of classical music concerts is the same as the presentation of other types of music in general. It is done so that people can easily accept and digest it. The standardization of a music presenta-tion format must implement certain quali-fi cations that are easily digested by society, which are easy and familiar like watching pop music concerts (Strinati, 2007, p. 13).

Classical Music Concert Audience at Kar-ta Pustaka

The Audience of classical music con-cert at Karta Pustaka come from various backgrounds. Spectatorsare not only from the upper class, but all of the social classes. Although the musical concerts being held are seen as an upscale music, but Karta Pustaka will open opportunities for people from any classes to enjoy a classical music concert. Karta Pustaka does not restrict the audience only to certain circles. But the concert is aimed at anyone who wants to watch and learn classical music. So the au-dience comes from the bottom class up to the top class.

Karta Pustaka just tries to eliminate the exclusivity of classical music. This is done by the lack of ticket and contributi-on from audiences. This makes people who are not capable to watch will be able to watch the concert at Karta Pustaka. Es-pecially for students and music majoring students who are less capable but need ap-preciation, they can watch and learn from the performing musicians. Classical music concert at Karta Pustaka showed no diffe-rentiation as stated by Bourdieu (1994, p. 56-57). There is no element of exclusivity, expensive, and only for the elite. Bycheap concert ticket, it opens the opportunity for lower-middle class to be able to access and enjoy it.

Musical concerts of Karta Pustaka initially free. But from the inputs of several parties, it then made to be free no more. Some viewers and friends of music protest that the concert is free. They say if the con-cert by Dutch musician is free, if there is a concert by Indonesian musician no one is

willing to pay to watch it. So the ticket is made like that by Karta Pustakaso that if Indonesian musicians hold a concert anyo-ne will still appreciate it. It is also made to control the number of spectators. Because when a free concert is being held without invitation, the number of viewers will ex-ceed the seating capacity, so that the au-dience will sit on the fl oor. So then tickets are made with the purpose of controlling the number of spectators and an effort to maintain safety when there are natural disasters such as earthquakes (Sitowati, 2009, p. 130)

Although music concert at Karta Pustaka is then used tickets and not free, but tickets are made as cheaply as pos-sible, which are affordable for all people. Currently the price of a concert ticket is Rp 10,000,00 at Karta Pustaka. The ticket price is much cheaper than pop concert tickets even dangdut music concert at Pura Wisa-ta. The ticket prices are also very different from the classical music concert ticket pri-ces in the Netherlands which are around 100 euros. The outcome from the concert ticket fee is then used to fund concerts and other artistic performances of musicians and artists of Yogyakarta.

Publication of classical music concert at Karta Pustaka is not widely performed. Information about classical music concert at Karta Pustaka is usually broadcasted in groups who is fond of classical music and become a loyal audience of Karta Pustaka. In addition, the information is also disse-minated in educational institutions that have an appreciation of classical music such as ISI, SMKN 2, and UGM. Also in some places in Yogyakarta music courses. Publications made by the Karta Pustaka gives the impression that the classical mu-sic concert is for particular few who really likes and appreciate classical music. Alt-hough cheap tickets are intended for all people, but its publication is uneven and only in certain areas.

The majority of the audience of clas-sical music concerts at Karta Pustaka are young people, especially college students. In addition to ISI students and students of


SMKN 2, viewers are also come from anot-her college students and public school stu-dents. According to the Director of Karta Pustaka (8 September 2008), 90% of the au-dience is young people. Most are students, but there are also a lot of teenagers. Es-pecially when the musician is handsome, young female audiences become many. In-cidentally, on the ticket and concert posters of Karta Pustaka has always displayed the musician photos. The physical appearan-ce of musicians turned out to be a special attraction for spectators at Karta Pustaka. Classical music concerts can not only be enjoyed by the essence of classical music performance, but the physical appearance is also one of the factors that can infl uence and attract the audiences to enjoy classical music concerts.

The Role of Karta PustakaAs a Support in Classical Music Education of Yogyakarta

Classical music is chosen as the main focus with the aim of supporting music education in Yogyakarta. In Yogyakar-ta there is High School of Music named SMKN 2 Bantul and the Academy of Mu-sic, now Institut Seni Indonesia Yogyakar-ta. Because who studied there learn clas-sical music, the students need support in the form of classical music performances from musicians who are professional and competent in classical music. Because the mission of Karta Pustaka is to support education, classical music is chosen (Sito-wati, 2009, p. 12).

Classical music concert program at Karta Pustaka become support for stu-dents and musical art students in Yogya-karta. As students and college students who worksin the fi eld of classical music, they need some mediato train their appre-ciation of classical music. Bourdieu says that the appreciation of art requires a long learning process and not just a momentary impression alone.

“A work of art has meaning and appeal only to people who have cultural capabi-lity” (Bourdieu, 1994, p. 2-3).

The above cultural capacity is the ability to assess and understand a work of art. So it can be concluded that the abi-lity to appreciate the classical music is a form of cultural capabilities. By watching a live classical music concert, the students and college students of art can gain a lot of musical knowledge and insight on how to play a good classical music. So their ap-preciation ability, assessment, and under-standingin the works of classical music is increasing.

Educational mission of Karta Pusta-ka Yogyakarta is not only conducted by organizing classical music and jazz con-certs. Musicians who are invited to play at the concerts also provide workshops for students, college students, and music teachers in Yogyakarta. Usually before or after the concert, musicians will give workshops. The one who is invited to at-tend the workshop are ISI students and students of SMKN 2 Yogyakarta, ISI lectu-rers and teachers of SMKN 2 Yogyakarta. The workshop is a transfer of knowledge. The musicians share the knowledge about their respective fi elds of music (Sitowati, 2009, p. 125)

The opportunity to attend the work-shops from world class musicians is a very valuable experience and lesson for stu-dents and college students of musical art. They gained a lot of knowledge of world class musicians who perform in Karta Pus-taka classical music concert. Moreover the workshops are given by world-class musi-cians who have very good reputation and achievements. Experience and no know-ledge gained in the workshop will be a provision for the students and college stu-dents of musical art in their studies.

The musicians who give workshops, sharetheir knowledge, especially about their playing technique, full comprehen-sion and inspiration in playing a work of art, and gestures in playing a work of art. Knowledge about playing technique, full comprehension and inspiration in playing a work of art, and gestures in playing mu-sic is needed by students and college stu-dents of musical art. They can apply these


knowledge in their performance. The kno-wledge they gain can be provisioned when they had completed the study and doing their job. They can transfer their knowled-ge to their students.

The musicians also share their kno-wledge about the history and background of the work performed by the students and college students of musical art that attends the workshop. Science and kno-wledge of the history and background of a piece of music arethe basic thing requi-red for a player to play the classical music. Knowledge becomes supporting elements in playing and comprehend a work of art. Without knowledge of the history and background of the work a music perfor-mer cannot play the musical piece totally. One important element in playing classical music is comprehension and inspiration.

Appreciation and knowledge gained from following a classical music concert and workshop at Karta Pustaka also make the students and college students of mu-sical art skilled music listeners, which Adorno referred to as the expert listener. Adorno makes the classifi cation of classi-cal music listeners, in the form of eight ty-pes of listeners (Dasilva, Blasi, and Dees, 1984, p. 67-68). The fi rst type is the expert listener (skilled listener), is a listener who understands and knows very well about the ins and outs of the music he enjoys, so is able to judge music well, even for comp-licated work. They learn music or take mu-sic lessons. The second type is the good lis-tener, the listener enjoysthe music not only for the prestige, but because of the tastes. This type is able to judge, but does not-quite understand the music structures and techniques. The third type is the culture consumer¸ the consumer culture theyfocus on the performance skills in performing the work. The fourth type is the emotional listener, which enjoy music as it evokes the emotional and psychological aspects. The fi fth type is the resentment listener, the lis-tener cannot ignore the developments of music and trying to follow the orthodox customs of Bach. The sixth type is the jazz fan, the happy listener. Type seventh is the

entertainment listener, which is the object of the culture industry. Last type is unmu-sical or anti- music.

In addition to the ability to play music, classical music listening skills are also needed for the students and college students of music department who will be working in the fi eld of classical music. If they become the expert listener, they can assess a classical music performan-ces which are good and which are bad. With the skills in listening to classical mu-sic, they can improve the performance of classical music according to the applied standard. The standard classical music including playing in accordance with the correct composition, comprehension and inspiration are in accordance with the his-tory and background of the work.

Lecturers and teachers to also gain benefi t from the world-class musicians. As well as the students and college students with art department gain knowledge about the music performance technique, compre-hension and inspiration, gestures, as well as knowledge of the history and backg-round of the work, the lecturers and te-achers also benefi t from these knowledge. The knowledge gained in the workshop become a provision for teachers and lectu-rers in their fi eld of work. They can apply it to teach their students. In addition, the teachers and lecturers acquire knowledge about how to teach and convey knowledge of the world-class musicians to the work-shop participants.

The Formingof Classical Music Tastes and Consumption Styles of College Students in Yogyakarta

According to sociologist Bourdieu, taste is not universal and natural. Tastes socially determined and defi ned by social location. It determines what is good and bad in social relations. Hence taste in mu-sic is also not universal and natural, but is socially determined and act as a social pro-duct (Bourdieu 1996, p. 56-57).

Based on Bourdieu’s ideas above, it can be concluded that musical tastes are formed due to the social environment. That


social environment can be family, educa-tional environment, friends, and social media. Karta Pustaka as a cultural institu-tion witha classical music program can be summed up as social media that has a role in the forming of classical music tastes in Yogyakarta. With the classical music pro-grams, classical music fans in Yogyakar-ta have a place for socializing. When the concert happens, the audience can interact with each other socially. This is where clas-sical music socialization occurs among the audience. One tastemedia is a social envi-ronment. Classical music program hold by Karta Pustaka forms a social environment that is the environment of classical music fans.

The social environment is in line with Bourdieu’s concept which is the arena con-cept. Arena, according to Bourdieu is a network of relationships between the ob-jective position in it (Jenkins, 2004, p. 124). Arena is a social environment in which there is struggle and fi ght for resources and access. Arena is a more or less homo-geneous sphere, such as in artistic, journa-listic, universities, and art. Performers in-cluded in an arena must master the codes and rules. People will not understand the strategy of the perpetrator if he does not relate to the arena, where there are posi-tions or their standing in it. Occupant po-sition in the arena can be either individual agents or agencies.

Based on the above, classical music fans can be assumed to be part and actors in the arena of classical music. Communi-ty and classical music events that followed byclassical music enthusiasts is an are-na where their positions are determined. In the arena, classical music fans should know and follow the codes and rules that are used. In the arena, fans of classical mu-sic are struggled to gain access and resour-ces to classical music.

The existence of classical music con-cert at Karta Pustaka become an apprecia-tion on musical taste containers for fans of classical music in Yogyakarta. Besides being able to listen and enjoy good classi-cal music, they also gain knowledge of va-

riety classical music. Classical music con-cert at Karta Pustakaalso provides a wide range of knowledge about the history of classical music, classical forms of music, composer biographies, and other classical music knowledge.

Classical music concert at Karta Pus-taka in addition to presenting classical music, they also provide education about classical music. Karta Pustaka provides a transfer of knowledge to the audience. It helps classical music fans in Yogyakarta in strengthening their classical music tastes by the use ofclassical music knowledge. It can be said that Karta Pustaka becomes a container and means of habitat develop-ment in the form of classical music tastes for classical music fans.

According to Bourdieu (1996), taste in music is one form of habits. So classical music tastes are habits. Bourdieu’s defi ne habits as the conditioning related to the presence of a social class. Habits are the result of skills which becomes a practical action that is not always be realized, which later become the activator source in a par-ticular social environment. Habitus is for-med through a process of internalization and education. Habitus become the activa-tor source of action, thought and represen-tation.

According to classical music fans, they got a lot of knowledge in classical music from classical music concerts hold by Karta Pustaka. According to one col-lege student who is classical music fans in Yogyakarta, he can learn about the techni-ques of playing music from a classical mu-sic concert at Karta Pustaka. The others college students and classical music fans in Yogyakarta also said the same thing. They say from classical music concerts at Karta Pustaka, they learn a lot about clas-sical music characteristic based on its time. They also learn how to make a good classi-cal music presentation. They also become aware of the attitude and appearance of musicians on stage (Sitowati, 2009, p. 145)

Classical music concert at Karta Pus-taka provides a good example of musicians who perform for the informants on how to


play classical music well. Fans of classical music in Yogyakarta, especially the peop-le who learn in the fi eld of classical music can see the good and correct techniques of classical music from the musicians who performed at the concert. Such knowled-ge then can become the provision on when they play classical music.

In classical music concert tickets at Karta Pustaka, they always write a short biographies of composers whose work is being played by musicians who perfor-med in the concert. Further more, quick explanation of musical forms and histori-cal background of the piece of music that is played is also included in the invitation or Boklet repertoire. That is the effect of a classical music concert at Karta Pustaka to-ward the informants. With a wide range of knowledge gained from watching a classi-cal music concert at Karta Pustaka, classi-cal music fans are more powerful in terms of its cultural capital. Their knowledge of classical music is increased, thus suppor-ting their skill in playing classical music.

In addition to information on tickets and Booklet repertoires, musicians who perform are often explained to the audi-ence about the piece of music they play. They briefl y describe the background of the composition they play. Sometimes the musicians also describe briefl y about the composer and the specialty of the com-position which they play. Information ob-tained from the classical music concerts performer are increasing the knowledge of the informant.

Based on the results of the interviews with the students of classical music fans in Yogyakarta, Karta Pustaka infl uences the taste and style of their classical music consumption. Infl uence in terms of know-ledge and informationon classical music, playing examples and good techniques of classical music, also gesture and attitude in playing classical music. All the knowled-ge gained from these media infl uences the informant classical music playing capabi-lities. They can copy a good performance from the musicians. It also may become references to classical music performances

for the informants. With the knowledge gained, then they can express the classical piece of music they play better (Sitowati, 2009, p. 147).

By watching live performances of classical music, classical music fans can see the musicians performance, along with techniques, gesture, and expression in playing a piece of music. Because it can be seen directly, then this knowledge can be directly absorbed and practiced in their musical activities. All the information and knowledge gained from a classical music concert at Karta Pustaka, are being applied by the informants in the classical music fi eld that they study. Especially in terms of playing technique, gesture, the way to play a piece of music, and the concert for-mat (Sitowati, 2009, p. 148)

The factors that make up habitusis internalization and education (Bourdieu, 2996). By watching a classical music con-cert, the fans gain a variety of knowledge. Knowledge is part of education in the for-ming of classical music’s habits. Besides the habits to watch and the preferences of classical music are a form of internalizati-on in the development of classical music habits. Informal learning from watching a classical music concert at Karta Pustaka develop appreciation abilities of classical music as well as strengthen their tastes.

According to Bourdieu (1996), habi-tus uniformity within a group is the basic difference in the community’s lifestyle. Lifestyle is part of the everyday social life of the modern world, in the form of acti-on patterns that distinguish one person to another (Chaney, 2004, p. 40-41). Classical music concert for fans of classical music has become part of their social life, which distinguish themselves with others who are not fans of classical music. They clai-med that watching classical music is a ne-cessity to support the classic musical tastes and their activities. Classical music concert becomes a necessity to complete and main-tain their musical tastes. So watching clas-sical music eventually becomes a lifestyle that supports their classical music tastes and their activities. Lifestyle in the form


of watching classical music by the classical music fans can be understood, because it becomes a means of appreciation and lear-ning. By watching classical music, they can appreciate their taste, and provide activi-ties and lessons for learning classical mu-sic which they study.

CLOSING

Karta Pustaka classical music media is existed until now and helped populari-ze classical music in Yogyakarta. This me-dia tries to blur the distinction and creepy image inherent in classical music, by chan-ging the default format of classical music it becomes more popular and not rigid. This media also featured cheap classical music, making it affordable for all. Classical mu-sic concert Karta Pustaka infl uence consu-mer taste and style in classical music of the classical music fans in Yogyakarta. Fans of classical music in Yogyakarta become an audience of Karta Pustaka’s classical mu-sic concerts.

Classical music program hold by Karta Pustaka has a role in supporting classical music education in Yogyakarta. Students and college students gain know-ledge and appreciation by watching classi-cal music concerts hold by Karta Pustaka. Another Karta Pustaka role in supporting classical music education in Yogyakarta is holding workshops from musicians who performed in the concert. With the work-shop of the world-class musicians, stu-dents, college students, teachers and lectu-rers gain more knowledge about classical music.

Karta Pustaka providesany kinds of knowledge to the fans of classical music in Yogyakarta. The most infl uential media in forming consumer tastes and styles of classical music ‘s fans in Yogyakarta are Karta Pustaka. Because the classical music concert featuring live performance, a lot of fans are acquiring knowledge in form of techniques, gesture, attitude, and compre-

hension of classical music.

REFERENCES

Bourdieu, P. (1996). Distinction: A Social Critique of the Judgement of Taste, London: Routledge

Chaney, D. (2004). Lifestyle: Sebuah Pen-gantar Komprehensif, translated by Nuraeni. Yogyakarta: Jalasutra

Dasilva, B. & Dees.(1984). The Sociology of Music, Indiana: University of Notre Dame Press

-Feris, J. (1991). Music: The Art of Listening.USA: Wm. C. Brown Publishers

-Hauser, A. (1974). The Sociology of Art, Chi-cago and London: The University of Chicago Press

Jenkins, R. (2004). Membaca Pikiran Pierre Bourdieu. Translated by Nurhadi. Yogyakarta: Kreasi Wacana

-Kartono, K. (1996). Pengantar Metodologi Riset Sosial. Bandung: C.V. Mandar Maju

Marselia, A. (2007, June 12). Perkemban-gan musik klasik di Indonesia perlu didukung, in Suara Pembaharuan eds.

Moleong, L.J.Dr. (2000). Metodologi Peneli-tian Kualitatif. Bandung: Penerbit PT Remaja Rosdakarya

-Riadi, Ag. T.J.H. (2008, December 12). Me-nikmatimusik klasik rasa teknik”, in Pikiran Rakyat eds.

-Russel, P.A. (2003). Musical taste and soci-ety”, in Hargreaves, D. J. and North, A. C., 2003, The Social Psychology of Music. New York: Oxford University Press

Sitowati, I. (2009). Seleradan Gaya Konsumsi Musik Klasik di Kalanagan Mahasiswa UGM Yogyakarta. Tesis. Yogyakarta: Program Studi Sosiologi Bidang Il-mu-Ilmu Sosial

-Strinati, D. (2007). Popular Culture; Pen-gantar Menuju Teori Budaya Populer. Translated by Abdul Mukhid. Yog-yakarta: Jejak

65

THE LESUNG MUSIC IN THE VILLAGE OF LEDOK BLORA REGENCY

Suharto*Siti Aesijah**

*Music Department, Semarang State University, Jl. Sekaran Campus Gunungpati Semarang, Indonesia

E-mail: [email protected]**Music Department, Semarang State University,

Jl. Sekaran Campus Gunungpati Semarang, IndonesiaE-mail: [email protected]

Received: Januari 2013. Accepted: Februari 2014. Published: Maret 2014

Abstract

This research aims to identify in order to preserve traditional art lesung music in Blora Regency. This research use ethnomusicology approach. The subject of research is Blora people who still play lesung music as an expression of social and cultural activities in the community. The setting of the research took place in Ledok village. The technique of collecting data is observation and interview. The validity of data uses triangulation techniques. The data collected was analyzed with interactive type of Miles and Huberman. The result of research shows that the form of lesung music uses simple rhythms with elements of rhythm, melody, and harmony. Harmony in music is from the rhythmic beats of polyphonic arranged. This kind of music at fi rst had any functions for the purposes of ritual, entertainment, welcoming guests, harvesting/offerings, a sign of the eclipse. Today, it serves as a means of musical entertainment at the village greeting, social inte-raction, and tourism. There is a shift of function due to the mindset of the people and the swift technology advances. Lesung music needs a modifi cation in its presentation by adding songs and games. Another art element like dance can be added to make the show more interesting to be enjoyed.


Keywords: lesung music; functions of arts; ethnomusicology


p-ISSN 1411-5115e-ISSN 2355-3820

lesung (Meita, 1992: 1-2). At fi rst, this tradi-tional art grew and thrived in the midst of agrarian societies since most of the people relied on agriculture for living. Pounding rice was a daily activity done by agricul-tural societies since it is the only way that could be used to separate rice grains from the chaff to be rice. While pounding rice, the people played music with lesung so that it produced music called lesung music, or music kothekan. It is called kothekan be-cause it produces music that bleeps klotak-klotek.

INTRODUCTION

The music of lesung is one of the tra-ditional arts that fl ourishes along with the expression of gratitude over the bountiful rice harvest. This art with different terms can be found in various parts of the archi-pelago. The name adjusts of the local lan-guage, such as gejog lesung in Yogyakar-ta, kothekan lesung in Blora, ale tunjang in Aceh, etc.

The music of lesung is a traditional music with the instrument or tool of alu and


In the past, the sound of lesung was heard when one of the residents had khajat (duwe gawe), such as mantu, mbesan (mar-riage), circumcision, kaul and others. The sound of lesung was beaten hard and con-tinuously as a signal that khajatan would start. It was at the time shortly after poun-ding the rice to be the raw material of tra-ditional food for local people jenang. Les-ung could also be seen during the harvest season, when citizens together mashed the grain into rice

Heard from the distance, its voice was only “thok-thek-thok thok thek-thok- dug”. It was the sound of alu – a tool of wood shaped like a long stick, which strucks regularly against a big wood made like a boat called lesung. Nowadays, les-ung is not used anymore to grind rice, but it is used as a traditional art that is usual-ly played by women since once the grind rice with lesung was done by the women. The existence of lesung is still preserved as a traditional art. The art is in the alu’s voice strucking against lesung sequential-ly. The lesung musicians are around fi ve to six people. To reproduce the variations of setting, the sound of lesung can be com-bined with traditional songs, which are performed in a group. There is a group of people singing or nembang while dancing. There is also a group of dancing people, bending their body while certainly swir-ling as if dancing with complete Gamelan accompaniment.

Today, this traditional music is inc-reasingly suffering more day; the extinc-tion of the musical tradition in the era of cultural transformation of agricultural so-cieties to the semi-industrial era is due to a lack of opportunity of this genre to exist as it used to be a part of the community sup-porters (Bramantyo, 2000: 103). Traditional music used to be a pride in the community; now begins to be abandoned.

According to Bramantyo, to revive and develop traditional music that owns a future perspective needs to be a formal transmission and an execution of large-scale research programs in an integrated continuity. This process will encourage the

world creation of art works with sophis-ticated techniques and simultaneously be followed the more reasonable aesthetical foundation as well.

The young generation leaves a tra-ditional music that his ancestors owned for a long time due to their lack of under-standing about the traditional music, par-ticularly the meaning contained in it. They consider traditional music is an ancient or underdeveloped music that does not cor-respond to the period.

This circumstance is what happen to the existence of lesung music in the villa-ge of Ledok, a village located in Sambong, a part of Blora Regency. At the top of its fame, the music could only be played in certain places and certain times anyway. Lesung music that uses the lesung instru-ment that is approximately 3 to 4 meters in large has specifi c meanings and symbols from both the property and the type of play. Therefore, the reason of this certainty that lesung music played in certain places in the village was that the length of lesung symbolized the owner.

This music continued its existence along with the rice pounding activities and the rice consumption needs. Nevert-heless, the music of lesung which is played by more than one person certainly has a specifi c function which makes the music survive in the decades, similarly with the instruments that are used, like a large les-ung and alu. The result is a patterned mu-sic and the type of songs can be interpreted that the public has a sense of music in ac-cordance with their musical experience.

It cannot be denied that technologi-cal advances, shifts in culture, and the con-cepts of social life due to the advances in information technology affect the existen-ce of the music of lesung from time to time. The progress of the civilization of the Le-dok villages in the way of rice producing ranging from planting rice to the fi nal pro-cess of producing rice causes a fl uctuation of lesung music condition. The younger generation has never watched this kind of music. It has been very rare to do such ac-tivity like rice pounding, to be replaceable

Suharto & Siti Aesijah, The Lesung Music in The Village of Ledok Blora Regency 67

by more modern grain grinder machines.In 1985 Education and Culture Mi-

nistry conducted a research and recorded some lesung music in some areas in Indo-nesia; in Central Java and East Java the name is lesung, ale tunjang in Aceh, alu’ ga-ling in West Kalimantan, and the name of kareku kandei and kareku necu in West Nusa Tenggara. Furthermore, Astono (2002) stu-died on the background of music creation of lesung (from historical side), organology (viewed by the karawitan), the social cultu-ral aspects (of the Javanese culture) with the focus of Lesung Banarata.

Aesijah’s research (2007) on the sym-bolic meaning and expression of kotekan music in the village of Ledok illustrates that some of the functions of music has been left by the villagers. The function of the music like at the moment of sun or moon eclipse and offerings stated on the research are now diffi cult to fi nd.

The existence of traditional music in Indonesia is on the wane. The existence of the traditional arts, including music that is usually embedded in social and cultural activities of the community began to disap-pear along with the loss of local social cul-tural activities were also abandoned. As a system, the function of art is not just in its use, but it ought to be explained as somet-hing which can be donated to a particular one in a system. The art is developed and standardized through social tradition arts of a society (Rohidi, 1993; Triyanto, 1993; Suparlan, 1983).

The purpose this paper writing is to present the result study, namely (1) ) the function of lesung music for social-cultural life of the Ledok society, and (2) musical concepts of existing lesung in the village of Ledok in the area of Sambong subdistrict Blora Regency.

METHOD

This research used a qualitative ap-proach with textual and contextual study within the scope of ethnomusicology. The data collecting technique is an observation, interview, and document studies. The ana-

lysis is using an interactive model of Milles and Huberman by not leaving the frame-work of ethnomusicology as its approach. The validity of the data uses the triangula-tion technique, from methods and sources.

Ethnomusicology is a research appro-ach by understanding the concept of music from the creating community. The resear-cher is able to study how to feel, play, and express like the owner of the music does. The study of music in the context of cultu-re according to Merriam (1964) known as the tripated model for the study of ethno-musicology could be examined from 3 le-vels, namely (1) the concepts about music, (2) the behaviour of music both from the players and the music connoisseur, and (3) the sound of the music itself. Thus, the stu-dy of ethnomusicology in this research is not out of these three aspects in analyzing the data.


Setting in Ledok VillageLedok village is a village in the area

of Sambong subdistrict, Blora Regency. Its territory is divided into several sections, like forest, plantation, farms and settle-ments; with an area of approximately 10 km2. To reach the village, the transporta-tion of a good four-wheeled vehicle or a motorcycle is mostly taken in a fairly good road condition.

The village is inhabited by 3392 people in 2013, most of who have an occu-pation as a farmer (287 people), peasants (163), civil servants (57) and many more. The interesting part of this is that most of the people get income from a traditional mining petroleum. This is derived from the mining wells as the legacy of Nether-lands colonial in the land of Perhutani fo-rests. Therefore, Ledok is actually a very rich village, especially in its potential of natural resources, from agriculture, forests to petroleum. Agriculture and plantation sectors produce approximately 50 hectares of sugar cane plants that is super in quali-ty as an ingredient of making sugar. This plant is the result of the cooperation bet-


ween the government of the village with the investors from outside of the region, and this sector has absorbed many labors both from within and outside of the re-gion as well. From forestry sector, Ledok has good quality forests. Some consist of natural plants from the Ledok region, like kepoh, forest bamboo, adiantum, and tales. Every day in the paved streets of the villa-ge, Pertamina trucks pass carrying the good oils derived from the wells owned by Per-tamina, or from the traditional miners.

Art Life ArchivesRecently, some groups of music, like

karawitan, keroncong, solo organ, and tayub are emerging. Among those kinds of mu-sic, karawitan is the most favorable; then, solo organ is in the second place. These two kinds of music are exist since it is still considered to be functional and readily accepted in all social strata and age, and in the social life of their culture, while the music of lesung is played by older genera-tion that the average age is over 65, and the number of players is decreasing. The moment of performing is only to comme-morate certain events, such as welcoming special guests, the activity of clean village (bersih desa), the independence day, the in-vitation to the district, or subdistrict, while daily artistic activities unfortunately are not held.

The life of art that used to be lesung music, or acoustic karawitan has never been heard faintly again. The most prominent one is the sound of electronic music from the loudspeakers in the celebration at the corners of the village.

The functions of lesung music for the life of the Ledok villagers

The function of art is divided into six sections, namely the function of personal, society (social), physical, religious, edu-cation, and economic (Setiawan, 2012). In Ledok community, lesung music currently no longer serves as a means of religious or ritual both personal and social. The utiliza-tion of music performance is more spon-taneous as a special guest welcoming. An

offering ceremony to Dewi Sri, or Sedekah Bumi, at the time of the procession and live music performance would rather use ba-rong, or kuda kepang. Lesung music is rarely used for offerings in traditional oil drilling anymore.

The performance of lesung music is far from the social life, and only involves a very limited group of society and not bin-ding. It means this lesung music no longer belongs to a cultural system of the village community of Ledok anymore. Once, in any social event, or entertainment always poses such lesung music, like at the mo-ment of sun or moon eclipse, offerings, en-tertainment to release tiredness after rice pounding, and codes of such events that are occuring in the village. It means wit-hout lesung music, all social cultural acti-vities of the village community of Ledok keep running normally. Thus, the music of lesung, which incidentally is already diffi -cult to fi nd both musical instruments (le-sung) and the performance, is no longer a part of the cultural system that is important to the people. As a system, the function of art is not just in its use, but it ought to be explained as something which can be don-ated to a particular one in a system. The art is developed and standardized through social tradition arts of a society (Parsons, 1951; Rondhi, 2002; Triyanto, 1994; Rohidi, 1993).

Thus, the existence of lesung music will gradually be extinct by itself if the le-sung music is considered inessential and no longer relevant to the life of the com-munity supporters. This situation has been going on in other rural areas in Blora Re-gency, in which the diffi culty of fi nding le-sung equipment almost owned by middle-class people is also such a problem. This situation is already caused by the function of nutu (pounding the rice) traditionally turning to rice mill machine which is con-sidered more effi cient and cheaper. Not only that, the technology of modern arts, like solo organ, takes any part to push the existence of lesung music down.

The existence of the group of lesung music founded by Sisworo, a public rela-


music is considered outdated and does not meet their artistic needs him this global era.

Figure 2. Three Lesung Players from Village of Ledok

RhythmSome patterns of rhythm that is

played are Kang Nganten, Sekar Lempang, and Bluluk Ceblok. The examples of rhythm pattern can be seen in the Figure 3, Figure 4 and Figure 5.

Figure 3. Rhythm Pattern of Kang Nganten

Figure 4. Rhythm Pattern of Sekar Lempang

To

DT

DW

TT

TO

DW

TT

tion of Cepu International Heritage Club (CIHC) in the village of Ledok is concerned. Six players of lesung have been very old, and two members that usually play music suffer from stroke. The efforts of cultural inheritance is running very slow. In addi-tion, the diffi culties of transferring know-ledge and skill of the old players, and lack of the interest of the young generation to-ward this kind of music bring the existence in a bad situation.

Figure 1. Lesung Players at Ledok

The Musicality of Lesung Music in the Vil-lage of Ledok

The number of players of the group and the name of lesung music players have not changed for decades causing the game character and musicality of his music has not changed. Moreover, they are the older generation who had never attended special education namely music. Minimal musical experience of the players cause the game patterns, melodies and harmonies are very limited. Western diatonic musical infl uen-ces are virtually untouched by them.

The music of lesung is a kind of music performance with main instruments of les-ung and alu/antan. The performance in the village of Ledok is shown by 3 to 4 people playing lesung. This art is very simple both in musical forms and the appearance of players, but the sound resulted from the lesung pounded is quite beautiful.

Unfortunately, the simplicity of this music does not interest the younger ge-neration to learn. The younger generation is more interested in modern music types that are considered more attractive. Lesung


Figure 5. Rhythm Pattern of Bluluk

CeblokNotes: TO: Tunggu OmahDT: Duduk TengahDW: Duduk WingkingTT: Titir

Rhythm patterns such as Kang Nganten, Bluluk Ceblok, Sekar Lempang are always played from time to time wit-hout changing any variation. However, ac-tually the rhythm patterns is exist with the background creation of each process. In ad-dition, the background also has a specifi c meaning although the meaning is no lon-ger considered important to the people’s lives. Meaning that it became symbols that does not fully apply to social and cultural life of the village community Ledok

The complementarities of life are manifested in their play. The types of players with musical parts such as Tung-gu Omah, Duduk Tengah, Duduk Wing-king, and Titir are examples of parts of the music performance. In Javanese culture concept in the village of Ledok, functions of the family members is very important in maintaining family harmony. If any of them deviate the family life will be dis-rupted. It is the symbolic meaning in the lesung music game in the village.

Melody and HarmonyMelody played in the music of lesung

is simply a short introduction of the lesung with a vowel sound. An examples of a me-lody below that serves as bowo are Kang Nganten and Sekar Lempang.

In the defi nition of diatonic music, harmony is called sound adjustment caus-ed by the combination of tones in a certain size that sound together. According to

Banoe (2003: 180), harmony relates closely to chord. In the music of lesung the harmo-ny is in the rhythm without tones. If so, the sound harmony is actually caused by the shift of the intensity of the sound, not to-nes, while the frequencies are dealing with the tones. A tone has the size of frequen-cy measured how much vibration or wave within a second.

Kang Nganten and Sekar Lempang are examples of simple songs that are always played them since decades. The songs use a Javanese pentatonic scale. They are gene-rally just simple songs as an introduction (bowo), then they continue to play an os-tinato in accordance with the rhythm pat-tern name. Once again, the game will stop until the collision of rhythm is occurred (tumbuk). CONCLUSIONS

Recently, lesung music in the villa-ge of Ledok is no longer a cultural system that affect the social cultural life of the so-ciety. This is due to the function of lesung music that originally functioned as a part of social cultural life of the society, such as merti desa, a sign of eclipse, a signal of signifi cant events, entertainment in com-memoration of the important days, now turning to limited use. The Lesung perfor-mances nowadays are only for incidental ceremonial occasions.

The performance of lesung music is considered old-fashioned for the young generation since the musical system is very simple. This simplicity makes the young generation is reluctant to learn it for there is an electronic music that becomes more interesting. In addition, the mindset of people has turned to leave the ritual func-tions, such as a sign of solar eclipses, a sig-nal to call people, and marriage.

The potential is that the village has become the ‘brand’ of the existence of le-sung music although the existence was not the same as two decades ago. Lesung music is recently only presented in certain events, such as the visits of foreign trave-lers and the performances requested by

TO

DW

TT


local, district, or subdistrict governments.Both village and district govern-

ments need to attempt mainly through education, in the elementary schools and formal educations. This effort needs to be realized due to the lack of interest of young generation to this kind of music, remem-bering that the number of players is cons-tantly descreasing. The inheritance pattern through formal educations, especially in elementary school, needs to be done with the adjustment of the size of alu to be easy to use for elementary school students. Be-sides it, the various patterns of performan-ce ought to be observed. It can be combin-ed with other types of art, such as dance.

REFERENCES

Aesijah, S. (2007). Makna Simbolik dan Ekspresi Musik Kotekan. Harmonia. 8 (3): 225-23

Astono, S. (2002). Lesung Banarata Karawi-tan di Akar Rumput. Keteg. 2 (1)

Banoe, P. (2003). Pengantar Ilmu Harmoni. Salatiga: Kanisius

Bramantyo, T. (2000). Revitalisasi Musik Tradisi dan Masa Depan. Men-cari Ruang Hidup Seni Tradisi (103-107). Yogyakarta: BP Fasper ISI and Yayasan untuk Indonesia.

-Bergerf, A. A. (2010). Signs in Contemporary Culture: An Introduction to Semoitics Translated by Dwi Satrianto. Yogya-karta: Tiara Wacana.

-Departemen Pendidikan dan Kebuday-aan. (1985). Ensiklopedi Musik Indone-sia A-E. Jakarta : Peroyek Penelitian dan Pencatatan Daerah.

-Koentjaraningrat. (1984). Kebudayaan Jawa.

Jakarta: PT. Balai Pustaka.-Mills & Huberman. (1992). Analisis Data

Kualitatif. Translated by Tjetjep Ro-hendi Rohidi. Jakarta : UI Press.

Merriam, A.P. (1964). The Antropology of Music. Bloomington: Norhwestern University Press.

Meita. (1992). Kothekan Lesung Karangan-yar. Retrieved http://digilib.uns.ac.id/1992.html. June 13, 2013.

-Muiz, A. (2005, Mei 14). Lesung Disug-uhkan Lantaran Keunikannya. Suara Merdeka 24, 2.

-Rahmanto, B. (1992). Simbolisme dalam Seni. Yogyakarta: BASIS, Jawanisasi Kebudayaan Indonesia.

Rohidi, T.R. (1994). Pendekatan Sistem Sosial Budaya dalam Pendidikan. Semarang: IKIP Press.

-Rosjid, A. (1979). Seni Tari III. Jakarta: Aqua Press.

-Sedyawati, E. (1981). Pertumbuhan Seni Pertunjukan. Jakarta: PT. Djaya Pi-rusa.

-Sudiarja, A. (1982). Manusia dalam Dimensi Simbol dalam Manusia Multi Dimensi. Jakarta: Gramedia.

Suparlan, P. (1983). Manusia, Kebuday-aan, dan Lingkungannya: Perspektif Antropologi. Manusia dalam Kesera-sian Lingkungan. Jakarta: Lembaga Penerbit Fakultas Ekonomi UI Ja-karta.

Triyanto. (1993). Pendidikan Seni sebagai Proses Enkulturasi Nilai-nilai Buda-ya. Jurnal Media 16 (4) 211-221.

-Wibowo, F. (2000). Seni Tradisi di Tengah Kemajuan Teknologi Tinggi. Ekspresi 2 (1) 57-64.

AUTHOR GUIDELINES

1. The manuscript is written in English. The type is an essay with subtitles at any of its parts, except in the introduction. The title is printed in capital letters, center text position, font size 14 pts, font face Book Antiqua.

2. The manuscript is typed in Book Antiqua, font size 12 pts, double-spaced, printed on A4 paper, approximately 20 pages of all.

3. The paper is submitted three copies in print out, and soft copy (in CD). Another way, it can be sent via e-mail [email protected] as an attachment.

4. Originality is a must, and the manuscript has never been published in any media before, proved by signing the letter of statement above the seal of 6000.

5. Systematic of writing. 5.1 The article consists of title, author name, abstract and keywords, introduction,

method, results and discussion, conclusions, and references. The title consists of max 12 words with font size 14 pts. The different subtitle is written in different font faces and not using numbers on the title section. The fi rst level in uppercase at all, bold, align text to the left. The second level, capital in the fi rst letter, bold, align text to the left.

Example:RESULTS AND DISCUSSION (level 1)The Study of the Deculturation Process of Modern Kasidah Music (level 2)The Process of Forming Tambourine (level 3)

The author’s name is in bold, font size 12 pt, without academic degree and title of honor. The address of the institution and e-mail address are included and written under the title, font size 11 pt. An abstract is written approximately 100 words in two languages (Indonesian and English), with keywords based on the language used in the article.

5.2 A conceptual article consists of title, author name, abstract and keywords, the introduction, the core (consist of several subtitles), closing, and references.

6. The author’s name is without academic degree and written below the title. If the aut-hor are more than 4 persons; all names are listed. In the reference, the author’s name is written in complete. The author must attach email address that is still active under the author’s name.

7. Abstract ranges from 100 to 150 words written in English.8. Keywords are based on the content of the article written below the abstract.9. References that are not cited in the article could be listed in the reference if the citati-

on is suitable to the content of the article.

IN-TEXT CITATIONSIdentify each source at the appropriate point in the text by the last name of the

author or authors, year of publication, and pagination (if needed). Examples:Note the following for the style of text citations:

(1) If the author’s name is in the text, follow with year in parentheses:

... Author Last Name (year) has argued ...

... it was described (Author Last Name, 2000a, 2000b, 2000c) ...

Articles in journals or magazines:Salam, S. (2001). Pendekatan Ekspresi Diri, Disiplin, dan Multikultural dalam Pendidikan

Seni Rupa. Wacana Seni Rupa.1 (3): 12-22Bergee, M. J. (2007). Performer, rater, occasion, and sequence as sources of variability

in music performance assessment. Journal of Research in Music Education, 55(4), 344–358.

Newspaper articlePitunov, B. (2002, December 13). Sekolah Unggulan ataukah Sekolah Pengunggulan? Suara

Merdeka. 4&11

Newspaper article (without the author’s name):Kompas. (2011, November 20). Wanita Kelas Bawah Lebih Mandiri, 3, 2.

Offi cial documents:Pusat Pembinaan dan Pengembangan Bahasa. (1978). Pedoman Penulisan Laporan Pene-

litian Jakarta: Depdikbud.Undang-undang Indonesia nomor 2 tentang Sistem Pendidikan

Book translations:Kaplan, D. (2002). Teori Budaya. Translated by Landung Simatupang. Yogyakarta: Pustaka

Pelajar Offset.

Paper, thesis, dissertation, research reports:Suryati, A. (2003). Hubungan Antara Minat Mahasiswa Terhadap Musik Populer dengan Prestasi

Belajar Komposisi Musik Mahasiswa Sendratasik FBS UNNES angkatan 1999/2000. Skripsi. Semarang: Universitas Negeri Semarang.

Conference papers, workshops, upgrading course:Waseso, M.G. (2001). Isi dan Format Jurnal Ilmiah. Makalah disajikan dalam Seminar Lokaka-

rya Penulisan Artikel dan Pengelolaan Jurnal Ilmiah, Universitas Lambung Mangku-rat, Banjarmasin, 9-11 Agustus

Individual internet articleHitchcock, S., Carr, L. & Hall, W. (1996). A Survey of STM Online Journals, 1990-1995:

TheCalmbefore the Storm, (online). Retrieved http://journal.esc.soton.ac.uk/ survey/survey.htm. June 12, 1996.

Internet article in online journalSinaga, S. S. (2010). Pemanfaatan dan Pengembangan Lagu Anak-Anak dalam Pembela-

jaran Tematik pada Pendidikan Anak Usia Dini. (Online), 5 (1). Retrieved http://www.journal.unnes.ac.id. November 20, 2011.

Internet (the material of discussion)Wilson, D. (1995, November 20). Summary of Citing Internet Sites. NETTRAIN Discussion

List (Online). Retrieved [email protected]. November 22, 1995.

For best andinnovative research

papers, click

journal.unnes.ac.id

SUBSCRIPTION

Annual Subscription (2 issues: June and December). Combined Instutional Rate (print + electronic): Rp. 100.000,-/US$ 9.0. Please send your aplication to e-mail [email protected] with :

Subject : SUBSCRIPTIONContent : Name, Address, Receipt of Payment

Payment to Bank Negara Indonesia (BNI) Branch KK UNNES, IndonesiaAccount Number 0246681976 name Suharto

JOURNAL HISTORY

Harmonia was established in 2000. The title with its subtitle was Harmonia: Jurnal Pengetahuan dan Pemikiran Seni. Started from Volume 14, Number 1 2014, the journal was only published by using one language namely English. The name of the journal with the sub-title was changed to Harmonia: Journal of Arts Research and Education.

Harmonia 14.1 - Copy

Documents

Transcript of Harmonia 14.1 - Copy