This research aims to develop an interactive application to support people learning to play music instruments of orchestra music. Gamelan, a traditional music orchestra from Java, Indonesia was used as the object study. A model of gamelan orchestra learning application was proposed to support an easy way to learn how to play gamelan music instruments. Rule-based method was used to develop an interactive system to learn gamelan music instru-ments. The system was implemented into an application which supports us-ers in independently learning to play orchestra music instruments, especially in remembering notes sequences and playing the note according to the tem-po. An experiment involving two groups consisted of control and treatment groups were conducted to evaluate the proposed learning model. The results shows that the averages skill value of the members of the treatment group were higher than the members of the control group.

AbstrakPerkembangan musik vokal di Minahasa memperlihatkan pengaruh budaya Barat yang kuat. Musik-musik tradisi Minahasa khususnya lagu beserta gaya-gaya tradisinya bercampur dengan pola-pola musik populer Barat, dari bentuk lagu hingga alat musik yang digunakan mengacu pada musik populer. Musik vokal etnik Minahasa dengan berbagai elemen musiknya hampir hilang wujudnya dalam perpaduan tersebut. Oleh sebab itu dengan pendekatan budayadan konsep-konsep musik vokal etnik Minahasa, tulisan ini menunjukkan ciri khas budaya Minahasa dan praktek bernyanyi etnik Minahasa pada musik tradisi dan musi populer Barat.Kata Kunci: Budaya, Musik, Minahasa, Populer.

Bambang Sukmo Pribadi or known as Bambang SP is a developer-maestro of karawitan Jawatimuran. The record of maestro was found in International Gamelan Festival 2018, Surakarta. A maestro title is not something easy to earn, however it’s also need to be known particularly in which extent Bambang SP’s attraction as a maestro in karawitan Jawatimuran. Bambang SP has a few covered record as a maestro and the discourse of karawitan Jawatimuran also not widely known especially in karawitan Jawatimuran community. The aim of this study is to explore constellation paradigm between Bambang SP and karawitan Jawatimuran. This paper is describing how Bambang SP’s creativity expands karawitan Jawatimuran. This practice holds conclusion of the use of karawitan Jawatimuran’s idiom at any expanding works as Bambang SP’s innovation. In the other hand, Bambang SP doesn’t leave the existence of traditional art in karawitan Jawatimuran. This attractiveness indirectly followed by his fellows as well as next generations.

Penelitian ini membahas mengenai interaksi musikal dalam pertunjukan kesenian Topeng Betawi. Fokus permasalahan menitikberatkan tentang bagaimana jalinan interaksi musikal yang terjadi di antara para pemain musik dalam sajian gending pokok pertujukan kesenian Topeng Betawi. Metode yang digunakan dalam penelitian ini adalah deskriptif analisis yakni metode dengan cara menggambarkan atau melukiskan objek yang dikaji berdasarkan data-data yang diperoleh, yang kemudian dilakukan analisis terhadap data tersebut. Penelitian ini menerapkan teori interaksi musikal yang dirumuskan oleh Benjamin Brinner. Teknik pengumpulan data diperoleh melalui studi lapangan, perekaman audio-visual, dan studi pustaka. Hasil analisis dari penelitian ini dapat disimpulkan (1) Pemain rebab sebagai pimpinan yang memiliki kewajiban untuk mengkoordinasi jalannya pertunjukan. (2) Tata letak instrumen musik dari masing-masing penyaji didasarkan atas pertimbangan kelancaran pesan musikal. (3) Pesan musikal merupakan tanda yang kemudian mendapat respon dari pemain musik yang lain. (4) Struktur gending dipengaruhi jenis irama yang dimainkan. (5) Respon musikal merupakan wujud dari motivasi masing-masing pemain musik. ABSTRACTThis study discusses the musical interaction in Topeng Betawi art performances. The focus of the problem focuses on how the fabric of musical interaction that occurs between the musicians in the musical staple grain Performace Topeng Betawi arts. The method used in this research is a descriptive analysis of the methods by describing or depicting an object under study based on the data obtained, which then conducted an analysis of the data. This research applies the theory of musical interaction formulated by Benjamin Brinner. Data collection techniques gained through fieldworks, audio-visual recording, and literature. Analytical results from this study can be concluded (1) Player fiddle as a leader who has the obligation to coordinate the course of the show. (2) The layout of musical instruments from each presenter is based on the consideration of the smoothness of the musical message. (3) Book musicals is a sign that later received a response from the other music players. (4) The structure of the musical influenced the type of rhythm being played. (5) Response musical is a form of motivation for each music player.

Penelitian ini difokuskan untuk melihat proses terkonstruksinya dimensi interkultural pada pola permainan gendang terhadap pelaku dan para pecinta Dangdut Koplo. Pendekatan yang digunakan mengadopsi dari Ilmu Sosial yakni teori konstruksi sosial Peter L. Berger yang terdiri dari eksternalisasi, objektivasi, dan internalisasi. Penelitian yang dilakukan menggunakan metode fenomenologi dengan melakukan studi lapangan ke sejumlah wilayah pertunjukan Dangdut Koplo di Solo Raya terutama Taman Hiburan Rakyat (THR) Sriwedari dengan objek kelompok musik Areva sebagai bahan studi kasus. Proses konstruksi sosial masyarakat Dangdut Koplo dideskripsikan melalui analisis pada transkrip pola-pola gendang dan dampak musikalnya. Tahap eksternalisasi melibatkan konsep dan kreativitas Areva dalam menghasilkan serta mengembangkan dimensi interkultural pada pola permainan gendang. Kreativitas dalam bentuk pola-pola gendang bermuatan proses interkultural dihadirkan dengan melibatkan interaksi intersubjek sehingga menghasilkan produk interaktif berupa senggakan dan gerak-gerak komunitas joged pada proses objektivasi. Media pentas dan konser menjadi proses sosialisasi yang membuat masyarakat dari satu kolektif ke kolektif lain, melihat Areva Musik sebagai manifestasi dari Dangdut Koplo, pada tahap internalisasi. ABSTRACTThis research focused on the construction process of the intercultural dimension of the drums pattern among Dangdut Koplo’s society. The approach used to adopt from the social sciences, that was social construction theory from Peter l. Berger consist of externalization, internalization, and objectivation. Research conducted using the method of Phenomenology by doing fieldwork to several areas performing Live of Dangdut Koplo in Solo and surroundings especially on Taman Hiburan Rakyat (THR) Sriwedari with Areva Music group as a case study. The process of the social construction of society Dangdut Koplo described through analysis on transcripts of drum patterns and the impact of its. Externalization stage involves the concept of creativity from Areva Music in generating and developing intercultural dimension on the drum pattern of the gendang’s player. Creativity in the form of many drum patterns featured an intercultural process involving the subject to subject interaction to produce interactive products in the form of senggakan and some motion from joged’s community on the process of objectivation. The medium of performances and concerts into a process of socialization that make communities from one another, the collective to collective see that Areva Music group as a manifestation of Dangdut Koplo, at the process of internalization.