The purpose of this study is to get a good shape in making musical works for children in particular raised the value of tradition, so that the output to be achieved by researchers for academic students, especially music students are able to create or conceptualize a work of music for children , which will help students and other academic people compete in the music industry globally. By using the method of qualitative analysis with approaches on musicology, with the theory of Form Analysis, Harmony, composition and litelatur about the value of the tradition, then from the foundation is obtained by analyzing the work of children's songs obtained directly from the source of cassette recordings or audiovisual, literature, and direct application that closely related to the research. Expected results get patterns of musical forms, lyrics, melodies, and chords that are able to describe or characterize a child's pop music that represents the value of tradition.
The purpose of this study is to get a good shape in making musical works for children in particular raised the value of tradition, so that the output to be achieved by researchers for academic students, especially music students are able to create or conceptualize a work of music for children, which will help students and other academic people compete in the music industry globally. By using the method of qualitative analysis with approaches on musicology, with the theory of Form Analysis, Harmony, composition and literataure about the value of the tradition, then from the foundation is obtained by analyzing the work of children's songs obtained directly from the source of cassette recordings or audio-visual, literataure, and direct application that closely related to the research. Expected results get patterns of musical forms, lyrics, melodies, and chords that are able to describe or characterize a child's pop music that represents the value of tradition. AbstrakTujuan penelitian ini adalah untuk mendapatkan bagaimana bentuk yang baik dalam membuat karya musik untuk anak khususnya mengangkat nilai tradisi, sehingga luaran yang ingin dicapai peneliti agar insan akademis khususnya mahasiswa seni musik mampu untuk membuat ataupun mengonsep sebuah karya musik untuk anak, yang nantinya akan membantu mahasiswa dan insan akademis lainnya untuk bersaing dalam industri musik secara global. Menggunakan metode analisis kualitatif dengan pendekatan pada musikologi, dengan teori Ilmu Bentuk Analisis, Harmoni, komposisi dan litelataur mengenai nilai tradisi ke'Sunda'an, maka dari dasar tersebut dapat diperoleh dengan cara menganalisis karya lagu anak yang didapat langsung dari sumber yaitu rekaman kaset ataupun audiovisualnya, literataur, serta pengaplikasian secara langsung yang erat kaitannya dengan penelitian. Hasil yang diharapkan mendapatkan pola-pola bentuk musik, lirik, melodi, serta akor yang mampu menggambarkan atau mencirikan sebuah karya musik pop anak yang merepresentasikan nilai tradisi.Kata kunci: analisis, penciptaan lagu anak, bentuk musik, nilai tradisi Pengantar Perkembangan musik anak di tahun 2016 ini sangat kurang sekali, belum lagi kurangnya lagu anak yang dapat di ekspose media untuk diapresiasi. Lagu anak biasanya hanya ditemui dan dilakukan di sekolahsekolah tingkat dasar. Padahal kelanjutannya haruslah juga diperhatikan sebagai wujud tanggung jawab kita terhadap perkembangan generasi penerus bangsa.Sebetulnya permasalahan ini sudah coba diangkat dan dibangkitkan oleh acara PPKI, Festival Lagu Anak (Fesla) di tahun 2013. Acara tersebut dihadiri oleh ibu Mari Elka Pangestu, dan sejumlah pejabat negara di bidang Parekraf. Ibu Mari menuturkan :
Dangdut originally regarded as the lower class. The term dangdut taken from onomatopoetic drum sounds and intentions satire for lower class, but now began to be known and consumed also by the upper class. This cannot be separated from the change and development of dangdut music in the beginning of its assimilation with Malay, Gambus, Indian, Arabic music in the 1950s, then the introduction of electrical instruments introduced by Rhoma Irama in 1970s, and the emergence of Dangdut Disco music in 1990. As did Via Vallen, with the concept of Western musical elements such as Reagee and Rap. The issue raised in this paper, that dangdut has a collaborative concept and global issues in it. The goal is to obtain a general picture of dangdut music development in Indonesia currently. Source used is secondary source that is literature and audio source and video. The data will be analyzed and dissected using the approach of musicology and cultural studies, and presented in the exposure with descriptive qualitative method. The results of this research are expected to produce an explicit note in the development of dangdut music today, as well as cultural issues inherent in its development.
Underground music is considered to have a very strong context in terms of cultural capital. By examining the capital and musical concepts of the underground music scene, it is possible to elaborate and explain the collapse of the regime. So that it raises a reaction to freedom in voicing certain class ideologies. The role of music was finally able to represent the voices of the politicized or oppressed people overpowering, one of which occurred in the New Order. Underground music emerged as a cultural capital which Bourdieu called an artifact in dissecting the problems of the social field. The purpose of this research is to uncover the cultural capital possessed by Underground Music which creates views that open the minds and hearts of representatives of certain classes. This research is carried out by reviewing literature, musicology, and historical records of Underground music, which will be presented and dialogued with the concept of Modal theory from Bourdieu and popular music analysis from David Machin. This research tries to answer the image anxiety that emerges from the dark and loud Underground Music Scene but instead has a sacred context in the development of the socio-cultural situation in Indonesia.
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