Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik https://ksgeo.ppj.unp.ac.id/index.php/musikolastika <p><strong>Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik</strong></p> Program Studi Pendidikan Musik FBS UNP en-US Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik 2657-0599 <p style="text-align: justify;">Authors who publish with this journal agree to the following terms: Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a <a href="http://creativecommons.org/licenses/by-sa/4.0/" rel="license">Creative Commons Attribution-ShareAlike 4.0 International License</a>.&nbsp;that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.</p> <p style="text-align: justify;">Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal. Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See&nbsp;<a href="http://opcit.eprints.org/oacitation-biblio.html" target="_new">The Effect of Open Access</a>).</p> <p><a href="http://creativecommons.org/licenses/by-sa/4.0/" rel="license"><img src="https://i.creativecommons.org/l/by-sa/4.0/88x31.png" alt="Creative Commons License"></a><br>This work is licensed under a&nbsp;<a href="http://creativecommons.org/licenses/by-sa/4.0/" rel="license">Creative Commons Attribution-ShareAlike 4.0 International License</a>.</p> Makna Dibalik Tambur Peh Cun dalam Masyarakat Tionghoa Benteng https://ksgeo.ppj.unp.ac.id/index.php/musikolastika/article/view/89 <div> <p class="ListParagraph1"><span lang="IN">Historically, the Benteng Chinese community was a marginalized community. Its existence in Indonesia cannot be separated from discrimination caused by political distortions, since the Dutch occupation, the Old Order, the New Order, until the Reformation Order. This results in poverty in various aspects. However, since the revocation of Presidential Instruction No. 14/167 revoked and replaced with Presidential Decree No. 6/2000, this community is free to express its cultural forms. This is evidenced by the existence of the Peh Cun drumming tradition in the Dragon Boat Festival. </span><span lang="IN">This study aims to reveal the meaning behind the Tambur Peh Cun tradition through the theory of Yin Yang and try to obtain a new theory about the essence of Peh Cun. That means this research uses a qualitative. </span><span lang="IN">Based on this analysis, it is revealed that Peh Cun or boat racing is not merely entertainment, a form of tourism, or ordinary art, but has an ideological meaning, which contains hopes and aspirations for equal rights and obligations as Indonesian citizens in general and treatment fair</span><strong><span lang="IN">.</span></strong></p> </div> Michael Hari Sasongko Dody Candra Harwanto Alfa Kristanto Copyright (c) 2022 Michael Hari Sasongko, Dody Candra Harwanto, Alfa Kristanto https://creativecommons.org/licenses/by/4.0 2022-12-26 2022-12-26 4 2 62 75 10.24036/musikolastika.v4i2.89 Kritik Sosial dalam Musik https://ksgeo.ppj.unp.ac.id/index.php/musikolastika/article/view/91 <p><em>Fourtwnty Music Group is an Indie music genre. This music group creates songs that are about life and some are about criticism, and this band is very popular with young people but not many understand the lyrics of every song that he creates. This study aims to examine a work of art, especially in our report on the song Realita created by the group band Fourtwnty, in which every work he creates conveys deep meaning to many people. The method we use in our research is using a qualitative method. And as for our conclusion on our criticism, namely how the song Reality conveys a message to many people through songs that are very characterized and classy. The fourtwnty music group has inspired many young musicians with their works and words. And from all of Fourtwnty’s works, he dedicates his music to spread the message of tolerance, peace and pluralism.</em></p> Moses Christian Almas Oktori Stenly Merang Aan Surya Payunglangi Erik Jeansen Copyright (c) 2022 Moses Christian Almas, Oktori Stenly Merang, Aan Surya Payunglangi, Erik Jeansen https://creativecommons.org/licenses/by/4.0 2022-12-26 2022-12-26 4 2 76 84 10.24036/musikolastika.v4i2.91 Pengaruh Negosiasi Budaya Pada Pertunjukan Musik Gamelan Soepra Terhadap Generasi Centennial https://ksgeo.ppj.unp.ac.id/index.php/musikolastika/article/view/93 <p>Gamelan is the work of adiluhung from the Indonesian nation, and is synonymous with Javanese society. In its development, Javanese Gamelan began to be degraded by global culture. Centennial generation children are considered more interested in pop music than their own cultural output, such as Javanese Gamelan. Henricus Constant Van Deinse, SJ in 1957 had an interest in Javanese gamelan, and innovated to modify the tone shape of gamelan by combining it with Western musical instruments so that it could attract the attention of the younger generation. When Van Deinse's gamelan was staged at an event in Senayan, it happened that Indonesian president Ir. Soekarno was present at the event, and was named Gamelan Soepra (Soegijapranata) in 1965. This is in accordance with the origin of the gamelan from Central Java and its famous hero is Mgr. Soegijapranata. This study aims to examine Gamelan Soepra in the perspective of hybrid culture theory. This research uses a qualitative approach, and the method used is purposive sampling by directly appointing informants who are considered gamelan experts. The result of this study is to know the philosophy and ensemble format of Javanese gamelan, as well as cultural hybrid products in the form of soepra gamelan, and its influence on the centennial (Z) generation.</p> Yosaphat Yogi Tegar Nugroho Ekawati Marhaenny Dukut Copyright (c) 2022 Yosaphat Yogi Tegar Nugroho, Ekawati Marhaenny Dukut https://creativecommons.org/licenses/by/4.0 2022-12-26 2022-12-26 4 2 85 103 10.24036/musikolastika.v4i2.93 Implementasi Nilai-Nilai Religius dalam Musik Gambus Melayu Riau https://ksgeo.ppj.unp.ac.id/index.php/musikolastika/article/view/96 <p><em>The development of science and technological progress as it currently has such a large impact on character values, religious values, social values, customs and value systems that exist in society. This situation has a negative impact on the younger generation due to not being able to respond properly. The application of religious values ​​is the main capital in dealing with the negative impacts of technological progress. Through art education with Gambus art media, religious values ​​can be realized for the younger generation. This study aims to explain the religious values ​​that exist in the Riau Malay Gambus art. This research was conducted in Pekanbaru City, Riau, the research subjects were students of the Sendaratasik Department of the Islamic University of Riau and the object of research was the Riau Malay Gambus art. This type of research is descriptive qualitative research. The data collection method used is by conducting observations, interviews, literature studies and documentation. Data analysis will use descriptive qualitative method obtained from primary and secondary data. The results of this study indicate that in Riau Malay Gambus art there are religious values ​​such as the value of worship, the value of jihad (ruhul jihad), the value of morals and discipline and the value of exemplary. The most important religious value is the value of worship, because in Gambus art there are many lessons and messages that can be learned from the art, because the initial function of Gambus art itself is as a propaganda medium which contains many religious elements and messages for everyday life. day that can be realized in the midst of family and society. By itself the religious values ​​contained in Gambus art can be applied to today's young generation to avoid negative things that will happen.</em></p> Laila Fitriah Evadila Evadila Idawati Idawati Nussy Anggraini Copyright (c) 2022 Laila Fitriah Zamri, Evadila Evadila, Idawati Idawati, Nussy Anggraini https://creativecommons.org/licenses/by/4.0 2022-12-26 2022-12-26 4 2 104 114 10.24036/musikolastika.v4i2.96 Needs Analysis of Using Tiktok Applications as an Alternative in Music Teaching and Learning https://ksgeo.ppj.unp.ac.id/index.php/musikolastika/article/view/90 <p>The current direction of education is changing towards digital education, known as information and communication technology (ICT). Educators can choose the right digital platform to use as a teaching aid among media that has a place among Generation Z, one of which is TikTok. Nevertheless, &nbsp;from several selected platforms cannot be separated from the inherent consequences and challenges. This study aims to discuss the use of Tiktok in the music learning process, both as a teacher and a student. The research method used is qualitative analysis to get an in-depth understanding of the use of Tiktok, which focuses on music knowledge. The results of this study show the advantages and disadvantages of using the Tiktok application in Music Education.</p> Marlia Munirah Abu Mansor Halimi Chamil Arkhasa Nikko Mazlan Copyright (c) 2022 Marlia Munirah Abu Mansor Halimi, Chamil Arkhasa Nikko Mazlan https://creativecommons.org/licenses/by/4.0 2022-12-26 2022-12-26 4 2 115 122 10.24036/musikolastika.v4i2.90 Analisis Bentuk dan Struktur Lagu Genit Karya Tipe-X https://ksgeo.ppj.unp.ac.id/index.php/musikolastika/article/view/92 <p>Genit is a work of music popularized by a local Indonesian music group, type-x. This work is very interesting to study in the perspective of musicology because there are so many ornaments that are the character of the Type-X music group.&nbsp; This study aims to analyze the shape and structure of a song called flirtatious by a Type-X music group.&nbsp; The research conducted is qualitative research with &nbsp;a systematic textual&nbsp; analysis approach, objectivity, and generalization using a musicological approach. This research data was collected from literature study activities, observations, and labor work. &nbsp;Data analysis is carried out by means of data reduction, data analysis and drawing conclusions. Based on the analysis of flirty songs by type-x, it is concluded that&nbsp; the form of the song consists of two parts, namely (A-B) which is carried out by the development of the period, namely (A, A', B' A1). In detail the phrases in each period are A(a-a') A'(a-x) B(y-z) A1(a-b) with a sum of 4 antecedent phrases and 4 consequent phrases. The motifs contained in the flirty song there are 10 motifs with the processing of motifs in literal repetition, inversion, interval reduction, reduction of tone values and enlargement of tone values, the motifs are m, n, m1, n', p, q, r, p1, r1, x. &nbsp;The lyrical relationship form &nbsp;in this song is dominated by the relationship form silabik with one word representing one note.</p> Muhamad Ihsan Alamsyah Jagar Lumbantoruan Copyright (c) 2022 Muhamad Ihsan Alamsyah, Jagar Lumbantoruan https://creativecommons.org/licenses/by/4.0 2022-12-26 2022-12-26 4 2 123 133 10.24036/musikolastika.v4i2.92