Music Ensembles Research Articles

Pembelajaran Ansambel Musik Sejenis Pada Siswa Kelas VII.1 Di SMP N 29 Padang

This study aims to describe the implementation of similar music ensembles in grade VII.1 students at SMP Negeri 29 Padang. This type of research is qualitative research with a descriptive approach. This research instrument is the researcher himself and is assisted by supporting instruments such as stationery and cameras. Data collection techniques are carried out by means of literature studies, observations, interviews and documentation. The data in this study used primary data and secondary data. The steps of analyzing the data are collecting data, identifying the data, clarifying the data, describing the data and inferring the data. The results showed that cultural arts learning in class VII.1 at SMP N 29 Padang used the 2013 curriculum syllabus by applying the 2013 curriculum pattern method, namely, student-centered learning patterns, active patterns, group patterns, multimedia-based learning patterns, and plural learning patterns. Cultural arts learning which was supposed to be 3 meetings to 2 meetings made it a little difficult for students to face the exam of similar musical ensembles. The lack of facilities and infrastructure does not hinder teachers in developing their creativity in order to continue to achieve learning objectives

A Suggested Method for the Musical Notation of Basic Arabic Percussion Instruments

Objectives: The study aimed to propose a standardized method for musical notation of Arabic percussion instruments, following the model of other musical instruments, as well as to provide examples of the method for notation of Arabic percussion instruments.
 Methods: This study follows the developmental approach, which involves studying a specific phenomenon and searching for solutions in order to develop effective outcomes for teaching. A musical notation was developed for the basic Arab percussion instruments used in modern Arab music ensembles, including the dhol, katem, riq, and tabla. Proposed models were developed in four lines, and each instrument was used in a way that corresponded to the selected rhythm, using a musical staff consisting of five lines and four spaces. Abbreviations and symbols were also developed to facilitate reading of the fast-paced shapes.
 Results: The results showed that a special rhythmic notation line can be assigned to each of the basic Arabic percussion instruments in modern Arab music bands. The rhythmic notation of the group of Arabic percussion instruments is represented in four lines. To ensure clarity and purity of rhythm, the instruments (dahola and katam) can be used to perform basic stress positions, while the instruments (riq and tabla) can be used to play percussive ornaments in addition to the basic rhythmic stresses.
 Conclusions: The study emphasizes the important role of Arabic rhythms, and the importance of educating musicians playing them, and not leaving them to improvise without specific musical notation, similar to other musical instruments, in order to control the performance.

Sounds of Wisdom: Unveiling the Hidden Pedagogical Power of Musical Instruments of World Music Ensembles

This article explores the transformative power of musical instruments on pedagogical strategies within music ensembles, with a focus on world music ensembles at the tertiary level. Drawing from my unique perspective as an international graduate student in the U.S. and having had no prior exposure to world music ensembles, I share my experiences with the saron metallophone from the Javanese gamelan and the mṛdaṅgam, the principal rhythmic instrument of South Indian Karṇāṭak music ensemble. I argue that the interaction of sound between instruments and learners offers a deeply enriching, immersive educational journey. Recognizing this sonic interaction broadens our understanding of world music education and suggests that instruments inherently carry pedagogical value. By embracing this notion, educators can cultivate a more holistic teaching methodology, enhancing the pedagogical landscape within and beyond world music ensembles.

An Indigenous embodiment of Conduction: Collective composition for traditional Māori instruments and beyond

This article looks at the indigenization of Butch Morris’s Conduction methodology by embodying it within ngā taonga puoro (traditional Māori musical instruments and practice). It explains the transition of Conduction from western music ensembles to a Māori instrumental orchestra. This is an examination of how the alteration of Morris’s conducting vocabulary can offer an alternative to the challenges faced with writing for ngā taonga pūoro within the context of western musical notation and how the recording process contributed to this development.

Thinking outside the Zoom box: Discovering resilience, innovation and creativity for large instrumental ensembles during the pandemic

This paper provides readers with insights and strategies to tackle challenges of various remote and in-person large ensemble rehearsal situations, as well as hopefully inspires others to find the opportunities through the obstacles. The authors provide tips and strategies for creating innovative and cross-disciplinary projects and providing valuable experience for the ensemble students in virtual, hybrid and socially distanced in-person educational settings. Strategies presented are gathered from the authors’ first-hand experiences with their large orchestral ensembles (ranging from 50–70 students) during the pandemic. Finally, the authors provide insights on what has worked well, challenges faced, technologies applied and lessons learned during the process. This paper also discusses various creative strategies to highlight collaboration and create a sense of community and belonging in a remote environment. Readers will gain ideas regarding unique teaching concepts for the music ensemble in the current environment including fully remote instruction, hybrid instruction and in-person settings. Matters such as utilising the audio Jamulus platform, engaging students in synchronous format, wellness for the instructor and students, finding value and motivation and embracing technology will be explored throughout the paper.

MUSIK TONG-TONG SANGGAR SENI TARARA, BANGKALAN, MADURA

Madura has a wealth of diverse traditional arts such as kejhungan, saronen, tong-tong, and gamelan. One of the interesting arts is tong-tong music. Tong-tong music is a musical ensemble dominated by wood percussion that used to function as sahur patrol music or music played to wake people up for suhoor in Ramadan. In addition, it isused to call pigeons home to return to their cages. The purpose of this study is to describe several patterns of music playing barrels of Sanggar Seni Tarara Bangkalan. This research is a qualitative research using a realist ethnographic approach. There are several repertoire of tong-tong music described in this study, including West Klapayan, East Klapayan, Ghul-ghul, and Rujurut.

Мастерство концертмейстера и аккомпаниатора как феномен современного музыкального искусства

Nowadays, the mastery of the concertmaster and accompanist is one of the most important criteria of modern musical art. The concertmaster strives to realize the artistic intent of the composition and becomes a full partici-pant of any musical ensemble, realizing the figurative content of the performed composition. Despite all the versatility of this figure, the number of studies examining the concertmaster’s performing activity in contempo-rary music-performing practice is currently insignificant. Nevertheless, there is reason to argue that scholars need to scrupulously investigate this phenomenon of contemporary musical art in order to further understand and actualize the activity of the pianist-concertmaster-accompanist in performing practice. For these reasons, the present work is of indisputable scientific novelty and relevance. The author stresses that a concertmaster combines many functions, and is primarily focused on creating a harmonious interpretation of the musical work being performed in conjunction with the pianist or vocalist. The versatility of the concertmaster figure ensures his demand as a specialist in the musical environment, and hence, this profession should be in demand among students as well.

GENDANG AGONG DALAM PERTUNJUKAN KUNTAU DI KABUPATEN PASER KALIMANTAN TIMUR

This study discusses working on the music of Gendang Agong in the Kuntau performance in Paser Regency, East Kalimantan. Gendang Agong is a traditional musical ensemble based on one of its functions used to accompany Kuntau performances, namely the martial arts or pencak silat traditions of the Paser Tribe. The study of the concept of garap karawitan Rahayu Supanggah related to the material for working on, cultivating, working on equipment, working on furniture/equipment for garap, determining the garap, and consideration on garap is used to analyze it. This research is a qualitative research with analytical descriptive research method. The results of the study show that the garap of Gendang Agong music has a working concept that applies in karawitan scholarship. The material for Gendang Agong is in the form of a transcript of musical notation by writing kepatihan notation with slendro pathet manyura. Cultivators are musicians who have a cultural background as the influence of virtuosity. The working facilities are in the form of quality musical instrument organology to support maximum sound. Furniture/cultivation tools, namely tools/software in the form of musicians' musical ideas that are formed based on their background as the casting of musical practice. The determining factor for garap is in the form of signs for musicians when working on it based on function, namely as an accompaniment for Kuntau. The consideration of working on it is musicians who are ready and responsive to emergencies for creativity when faced with an unsupportive performance venue. The series of six concepts worked on by supanggah is a unified whole that supports each other in forming traditional music compositions to build a musical atmosphere to accompany the Kuntau Paser performance.

Segmenting the eating behaviour of university students using the K-means algorithm

Universities that teach arts education do not only teach how to play an instrument or conduct musical ensembles; they are agents of change in eating behaviour for the praxis of teaching and dissemination of healthy education. The objective of the research was to segment the eating behaviour of students of the artistic education-music speciality of the National University of Education "Enrique Guzmán y Valle" by applying the K-means algorithm. To do this, the methodology consisted of understanding the problem, understanding the data collected, preparing the data, modelling and evaluating the model. For modelling, the free software Weka was used through the K-means clustering technique on a data matrix of 148 instances with forty-three nominal variables collected online based on an instrument designed and validated to assess eating behaviour in university students. Two was determined to be the optimal clustering for eating behaviour in university students, using the elbow method, with a distribution of 49% for the first cluster and 51% for the second cluster. The results of the study population showed that the eating behaviour of university students is adequate.

Brass Bands: The Foundation of Music Education in Australian Schools

There are currently very few brass bands in schools in Australia, however they were the predominant music ensemble in Australian schools up to the 1970s. The aim of this article is to document the popularity of British-style brass bands in Australia, and the corresponding development of brass bands in schools during the 20th century. The history of the brass band in Australia and its decline is explored, drawing significantly on the historical research of Dr Duncan Bythell, Dr Thomas Fraschillo, Dr Dave Russell, and Dr John Whiteoak. In addition, various primary sources are examined, such as newspaper articles and photographs. British immigration to Australia played a significant role in shaping the brass band movement, which was distinctly male-dominated and had strong links to the military culture of the first half of the 20th century. These societal trends followed into the school brass band setting. The article concludes with an overview of the factors that influenced the shift away from the all-brass ensemble in schools. This research provides a better understanding of the brass band tradition within the context of the school environment in Australia and calls for further research and scholarly inclusion in the literature of music education.

Segmenting the eating behaviour of university students using the K-means algorithm

Universities that teach arts education do not only teach how to play an instrument or conduct musical ensembles; they are agents of change in eating behaviour for the praxis of teaching and dissemination of healthy education. The objective of the research was to segment the eating behaviour of students of the artistic education-music speciality of the National University of Education "Enrique Guzmán y Valle" by applying the K-means algorithm. To do this, the methodology consisted of understanding the problem, understanding the data collected, preparing the data, modelling and evaluating the model. For modelling, the free software Weka was used through the K-means clustering technique on a data matrix of 148 instances with forty-three nominal variables collected online based on an instrument designed and validated to assess eating behaviour in university students. Two was determined to be the optimal clustering for eating behaviour in university students, using the elbow method, with a distribution of 49% for the first cluster and 51% for the second cluster. The results of the study population showed that the eating behaviour of university students is adequate.

Pendampingan pembuatan alat music Klentang

Traditional music is an ancestral form of art in a society that relies on local traditions, language, and culture. One of the preserved traditional music in East Lombok is Klentang, a traditional musical instrument shaped like metal bars played in a musical ensemble. Despite its rapid development, the existence of Klentang remains safeguarded by the East Lombok community. Therefore, this research aims to accompany the production of Klentang musical instruments at Sanggar Patuh Gending to preserve the culture and advance traditional music. The study is conducted using ethnographic methods involving 18 craftsmen and 8 students. The Klentang-making process includes crafting the metal bars and their supports. The metal bars are made by heating and forging steel, followed by tuning the pitches by striking the bars with a hammer. The supports consist of bends and frames made from bamboo and wooden boards. The size and tuning of Klentang are adjusted to the diatonic tuning system intervals to produce harmonic sounds. Crafting Klentang requires skill and precision to create high-quality musical instruments. By executing this process effectively, Klentang can produce beautiful and harmonious sounds when played, ensuring the continuity and preservation of traditional Klentang music.

Compositions of song Nakhon Champasri for creative research and music instruction in contemporary Isan Folk Music ensemble

The compositions of "Nakhon Champasri" for a contemporary Isan folk music ensemble, focusing on creative music and music instruction in a contemporary Isan style The objective of this was to produce academic works that advance the understanding of creative music and contribute to broader research in music, the arts, and culture. Using a creative research approach, incorporating traditional Thai Isan folk melodies and infusing them with intriguing patterns, rhythmic rise, Western harmonies, and chords, such as random notations, block chords, pentatonic scales, passing notes, rhythmic patterns, ostinato, improvisation, and passing notes, while utilizing harmonies of different voice counts The findings showcase the successful integration of traditional Isan folk melodies with contemporary compositional techniques, resulting in captivating and harmonically rich compositions. The practical implications of its value as a teaching tool for students pursuing a Bachelor of Music degree, allowing them to explore and learn about contemporary Isan folk music composition, These compositions offer opportunities for musicians and music enthusiasts interested in general music composition to engage with and appreciate the unique genre of contemporary Isan folk music. contributing to the advancement of creative music and serving as valuable resources for music instruction.

THE MUSICAL CONCEPT OF OGUANG JANA IN PARAMBAHAN VILLAGE

Oguang jana is a type of bronze musical ensemble found in Nagari Parambahan, Lima Kaum sub-district, Tanah Datar district. This art is played by four players, each player holding a canang musical instrument (a type of gong family one level larger than the talempong). This art is commonly carried out in various traditional events and other community entertainment. This study intends to examine the musical concepts that exist in the art of oguang. In addition, studies outside of music texts will also be put forward by the author as an effort to get to know this art beyond the resulting musical texts. Research on this object is also based on the urgency of this art. Where this art no longer has a successor and is very rarely presented in various art stages. Therefore, this research is very important for the author. This research uses qualitative methods to describe things related to the text and context of this art.

Striving for musical excellence: a study on the development of music players' skills for church worship accompaniment through ensemble training

The connection between music and the church is integral, especially during worship, where hymns require musical accompaniment. The musical experience influences congregational engagement and emotions. Given the significance of musical accompaniment, diversity is essential. Coaching can enhance musicians' skills and contribute to varied worship experiences. This action research aims to guide music players at GKE Palangka I Palangka Raya to improve their music-playing skills, which are carried out in two cycles. Each cycle consists of four stages: planning, implementation, observation, and reflection. The subjects of this study were ten teenage music players. Data were collected through observation, documentation, and skill tests. The data were analyzed by processing scores of assessment aspects, including the ability to imitate sounds, read notation, tempo suitability, intonation accuracy, and fingering techniques. The results increase musicians' skills in playing music through ensemble music, with an increase in the average score of each participant from pre-cycle 52 to the first cycle 62 by 19% and from the first cycle 62 to the second cycle 77 by 24%. This research contributes to the significance of musical diversity in worship, the impact of musical instruments on congregational engagement, and the potential benefits of coaching in enhancing musicians' skills for diverse music presentations, particularly within small musical ensembles. Additionally, this research highlights the significance of a theological-oriented approach to training in music ministry and practice and the potential for collaborative music training to improve musical proficiency in the context of worship.

Kolintang Symbolic Construction of The Union Odd Numbers (Three) in Socio-cultural Meaning of Minahasa Community

This research examines the construction of Kolintang through the symbol of the number Three in the socio-cultural life system of the Minahasa people, whose embodiment in Kolintang music. A qualitative method through a historical approach in social and anthropological writing is used in this research. The data sourcewas obtained from field observations for approximately three years in Lembean Village, namely Nine taranak or Minamerot.Interviews and recordings do well; researchers are also active in direct observation. The research found that the number one is a transcendent and intangible symbol, the God of the Minahasa people Empung, WailanWangko, EmpungRenga-Rengan, God is Glorious, God is Great. The number one does not appear in the form of kolintang but is unifying. The number three is seen in the three forms of the Minahasa grandmothers Karema, Lumimuut, and Toar; also in the three Minahasa leaders, Tunduan/Tonaas, Wadian/Walian, and Teterusan. It is seen in the three first descendants of Minahasa, namely the Tombulu, Toutewoh, and Tounsawang sub-ethnicity. This symbolisation can be seen in the construction of Kolintang instruments using three wooden sticks (Teken) singing Tatembaken, the use of three-wood Kolintang in Waleposan, and traditional modes/scales such as (1 - 2 - 3) as well as the use of three wood in modern Kolintang Music Accompaniment called Wooden Kolintang Music Ensemble (AMKK). In conclusion, the construction of Kolintang music is a form of symbolisation of the Unification of the number three in the social and cultural life of the Minahasa people.

Melody memory project: Increasing dementia awareness through traditional gamelan music

AbstractBackgroundGamelan, a traditional music ensemble has become the most popular traditional music played by Balinese people for decades, both as leisure and religious activities. Musical activity can enhance cognitive function. However, there are limited activities for retired musicians.AimAlzheimer Indonesia Nederland Foundation (ALZI Ned) initiated the “Melody Memory Project” which aimed to increase the quality of life and dementia awareness of the retired Balinese elderly musician through gamelan practice.MethodsA weekly gamelan practice was conducted at the Pinda village community center, Gianyar, Bali Indonesia. Each session is preceded with dementia awareness session (e.g. sharing the 10 early signs of Alzheimer’s, brain gym) by ALZI Ned volunteers. There were health screenings once every two weeks (i.e. blood pressure/ blood sugar check, hearing problem). Cognitive assessment was conducted using Mini Mental State Examination (MMSE) before and after 6 months.Thirty participants (age 58‐77 yo) were registered in this program. From July to October 2021, 6 practice sessions (each for 2 hrs), 2 performances and 3 health screening sessions were conducted in cooperation with the local government authorities. Due to Covid‐19 local lockdown, the program has been halted and will resume in February 2022. This activity has recently been approved as part of the village program and further continuity will be supported by the government. We expect to obtain more data by the time of the conference.

Diverse instrument symphonic ensembles: Making sustainable music amid unsustainable situations

Music technology-focused ensembles such laptop orchestras have become mainstays at higher education institutions. Nevertheless, the perpetual innovation inherent in the mandate of such a group presents some unique challenges in the post-pandemic academic landscape. In the post-COVID period of supply chain breakdowns and budget-obsessed administrations, building an ensemble focused on technology may become prohibitively expensive. As traditional music departments struggle with lower enrolment, expanding large ensembles to include a more diverse corpus of instruments would solve multiple problems. Assuming the challenges inherent in starting such groups could be overcome, ensembles that expand their instrumental diversity could allow for innovative study, increase enrolment and even save the host institution much-needed funds. The author groups extant technology-focused musical ensembles into categories by their focus and then proposes a novel category featuring intentionally diverse instrumentation, which may solve many of the problems associated with funding such groups while increasing and diversifying enrolment.

Encountering disability in music: Exploring perceptions on inclusive music education in higher music education

This research study evaluated an Artist-in-Residence-project (AIR-project) at the Conservatory of Amsterdam, focusing on inclusive music education. For this project, the Conservatory invited the organization Drake Music Scotland to work with its students. The project’s aim was to provide students with practical skills regarding music technology, to discuss the social model of disability, and to play in an inclusive music ensemble with a musician with a severe physical disability. The perceived learning experiences of students, the experienced value of the project, and recommendations for its improvement were explored through online questionnaires with the students and online semistructured interviews with the AIR-project leader, the musician with a disability, and the two workshop leaders of Drake Music Scotland. Findings suggest that alongside learning practical skills regarding music technology, students changed or broadened their perceptions about people with disabilities and inclusive music-making in positive ways. Furthermore, participants valued that the project created a space in which “taking enough time” and “belonging” could be experienced; these values are important in inclusive music environments as they can empower musicians with disabilities. The main recommendation for similar projects was that students wanted to gain hands-on experience in inclusive music education.

The Concept of Harmony and Modulation in Kwanji Sempidi's Gambang

Gamelan Gambang is a Balinese musical ensemble that has a unique and distinctive characteristic of its musicality. Gamelan Gambang belongs to gamelan saih pitu (seven notes), where in one octave the tone consists of seven principal notes. Each of the instruments in the Gambang Kwanji Sempidi gamelan has a different concept of tone harmonization and tone modulation. The method used in this study uses a type of qualitative descriptive research method through data collection using observation, interview, discography, and documentation methods. While measuring the frequency of the tone using the Curltone application tool. Through this method, in the Gambang Kwanji Sempidi gamelan, harmony appears in the arrangement of the Gambang tones on each Gambang instrument. Harmony is related to the interval or pitch distance. The pitch distance between dAng (A) and dang (a) is called ngembat or octave, the distance between dAng (A) and dEng (e) is called ngepat or ngempyung (kwint), while the distance between dAng (A) and dOng (o) tones called nelu or quart. If they are hit together in one tone simultaneously, four forms of tone harmonization patterns occur (nelu, ngepat, and ngembat). The harmony playing pattern on the xylophone is supported by the gambang beater (panggul) which has been set in such a way. The xylophone panggul has a different distance between the right and left pairs of mallets. The left pair spans four notes, while the right pair spans five notes. The Gambang Kwanji modulation system, namely the transition from one basic tone to another, is called Sengkeran. In the game, there is a change of one note in the order of the notes used. This sengkeran is found in the Gambang Labdha and Manukaba songs.