Kos Atos merupakan grup musik Keroncong yang terbentuk di Universitas Negeri Malang. Kos Atos memiliki kepanjangan Kumpulan Orang Seni Depan Matos. Dalam mempertahankan musik Keron­cong di Kota Malang, grup musik Kos Atos mengkreasikan musik Keroncong sebagai genre dasar dengan genre yang berkembang saat ini. Alasan peneliti melakukan penelitian ini yaitu untuk men­deskripsikan kreativitas apa saja yang dilakukan Kos Atos dalam mempertahankan musik Keroncong di Kota Malang. Penelitian ini bertujuan untuk mendeskripsikan Kreativitas yang dilakukan Kos Atos dalam mempertahankan musik Keroncong di Kota Malang dengan harapan bisa menjangkau semua kalangan agar musik keroncong bisa dikenal lebih luas. Pada penelitian ini menggunakan pendekatan deskriptif kualitatif dengan menggunakan teknik observasi, wawancara dan dokumentasi dalam mengumpulkan data. Analisis data penelitian menggunakan teknik reduksi data, penyajian data, dan verifikasi. Hasil dari penelitian ini menjelaskan tentang kreativitas Kos Atos yaitu dengan diben­tuknya rumah produksi bernama creatorikos, 3 album terakhir yaitu Local Heroes, Langkah Baru, dan Live at Kopi Koopen Ijen. Selain itu, ada pula kreativitas lain yang ditunjukkan melalui single lagu, tour album, berkarya melalui platform digital, serta penyajian musik Kos Atos. Kata kunci: kreativitas; Kos Atos; musik; Keroncong Kos Atos Creativity in Maintaining Keroncong Music in Malang Kos Atos is a Keroncong music group formed at Malang State University. Kos Atos stands for “Matos Home Art People Group”. In maintaining Keroncong music in Malang, this Kos Atos music group has created Keroncong music as a basic genre with the genre currently developing. The reason for the researchers conducting this research was to describe what creativity Kos Atos did in maintaining Keroncong music in Malang City. This study aims to describe the creativity carried out by Kos Atos in maintaining Keroncong music in Malang City with the hope that it can reach all groups so that Keron­cong music can be widely known. In this study using a qualitative descriptive approach by using observation techniques, interviews and documentation in collecting data. Analysis of research data using data reduction techniques, data presentation, and verification. This study's results explain Kos Atos's creativity, namely the formation of a production house called creatorikos, the last 3 albums are Local Heroes, New Steps, and Live at Kopi Koopen Ijen. Apart from that, other creativity is shown through single songs, album tours, working through digital platforms, and presenting Kos Atos music. Keywords: creativity; Kos Atos; music; Keroncong

Musical form is the composition of music in a composition of motifs, themes, and phrases. Musical forms according to the number of sentences is divided into three types, namely one-part musical form, two-part musical form, and three-part musical form. This study aims to describe the musical form of the song "Pilu Membiru" by Kunto Aji. This research uses a qualitative descriptive research method. The data in the research were obtained using observation, interviews, and documentation by testing the validity of the data using triangulation. The results of this research indicate that the song "Pilu Membiru" by Kunto Aji has a complex three-part musical form. In the A complex section, there are 2 main themes and 1 transition theme. In part B complex there are 2 main themes with new themes that are played over and over again. Part C complex is a series of parts A complex and is played with increased dynamics to emphasize the part of the song. The complex three-part form of the song "Pilu Membiru" can be written in the musical form Ak (A, AI, B, BI, C ) - Bk (AII, D, D, D, D, D, D) - Ck (B, BI, C).The complex three-part form of the song "Pilu Membiru" can be written in the musical form Ak (A, AI, B, BI, C ) - Bk (AII, D, D, D, D, D, D) - Ck (B, BI, C).

Roso Rerasaning Jiwo is the title of multidisciplinary performance art that combines various fields of art. The purpose of this paper is to describe the relationship between music and the body movements of performers in collaborating to interpret the feelings that are turbulent in the artist’s soul, both spontaneously and in totality. Musical techniques are created extemporaneously and played spontaneously to respond to the performers’ body movements. This creative process focuses on exploring aspects of musical ideas to create interactions between the music, the performers, and the audience through sound, body movements, and dialogue. Each motif in a musical composition contains rhythms that flow spontaneously, following the movements of the performer’s body so as to form an artistic and characteristic unity. It is hoped that through Roso’s performance art Rerasaning Jiwo, this art can be understood and appreciated as a new form that offers novel aesthetic effects. Keywords: music, motion, performance art, Roso Rerasaning Jiwo

This study examines a tradition called Baritan, a spiritual tradition that presents people in public spaces, so that they appear as performances. This Baritan is held every month in the Javanese calendar. One of the people who still preserve this tradition is in the Dormojayan Village, Blitar Regency. However, it is unfortunate that not many young people understand the meaning contained in the tradition, both in the form of symbols on ritual equipment and actions. Therefore, the researcher will examine and inform again about the meaning of the Baritan Tradition Offerings. The method used is descriptive qualitative by using interview data with key informants, namely Maryatim (55 years old) an elder of Dermojayan village, Semin (70 years old) ritual leader in RT02 Dermojayan Village, and other competent sources, and observations were made on ritual activities. Baritan at Bula Suro to be precise on Friday Legi or August 20, 2021, and using documents belonging to the Dermojayan Village archive. Data analysis using interpretation. The results of the research (1) are the implementation of the Baritan performance procession which shows a symbol of social ties, (2) the symbolic meaning of the Baritan performance equipment, namely as a turning point for people traveling or doing activities on the streets, so that curious spirits do not interfere. Keywords: tradition; rituals; meaning symbolic; Baritan Abstrak: Penelitian ini mengkaji tentang tradisi yang disebut Baritan, sebuah tradisi spiritual yang menampil­kan masyarakat di ruang publik, sehingga tampil sebagai pertunjukan. Baritan ini diselenggarakan setiap bulan suro dalam hitungan kalender Jawa.  Masyarakat yang masih melestarikan tradisi tersebut salah satunya adalah di Desa Dermojayan Kabupaten Blitar. Namun sangat disayangkan bahwa tradisi yang memiliki nilai spiritual tinggi tidak banyak generasi muda yang memahami makna yang terkandung dalam tradisi tersebut, baik dalam bentuk simbol-simbol yang ada pada perlengkapan ritual maupun tindakan-tindakan. Oleh sebab itu, maka peneliti akan mengkaji dan menginformasikan kembali tentang Makna Sesaji Tradisi Baritan. Metode yang digunakan adalah deskriptif kualitatif dengan menggunakan data wawancara dengan narasumber kunci, yaitu Maryatim (55 th) sesepuh Desa Dermojayan, Semin (70 th.) pemimpin ritual di lingkungan RT 02 Desa Dermojayan, dan narasumber lain yang berkompeten, serta dilakukan observasi pada kegiatan ritual Baritan pada bulan suro tepatnya pada hari jumat legi atau tanggal 20 Agustus 2021, serta menggunakan dokumen miliki arsip Desa Dermojayan. Analisis data menggunakan interpretasi. Hasil penelitian (1) pelaksanaan prosesi pertunjukan Baritan yang menunjukan simbol ikatan sosial, (2) makna simbolik dari perlengkapan pertunjukan Baritan, yaitu sebagai tolak balak bagi orang yang berpergian atau beraktifitas di jalanan, agar roh roh yang penasaran tidak mengganggu. Kata kunci: tradisi; ritual; makna simbolis; pertunjukan; Baritan

Djent music is music which has elements of groove and progressive metal. The creation of djent music is an innovative idea from previous metal music which in its development djent music can’t be separated from the influence of rock music, which is phenomenal in the world. This study aims to describe the development of djent music and the factors influence the development of djent music in Malang. The writing of this research was carried out using descriptive qualitative methods. Using data analysis in the form of interviews with sources. The resource persons in this study were Norman Duarte Tolle (35) as a djent music musician (C-four) in Malang, Aulia Rizky Fajar (24) as a djent music guitarist in Malang, Reynal Juliandi (27) as an observer and music guitarist djent music in Pasuruan, Fauzan Sanjaya (24) as a member of the loud music community (Undisputed), and Fajri Ramadahan (27) as a musician djent music (Ceara) in Jakarta. Observations are aimed at knowing the development of djent music in Malang based on a review of the C-four music group. The result of this research is that the existence of djent music can be seen through the music industry and internet media which play an important role in the development of djent music so that the genre is able to spread widely throughout the world, including in Indonesia and Malang especially. Keywords: development; djent music; musicians; Malang Abstrak: Musik djent merupakan musik yang memiliki unsur groove dan progressive metal. Terciptanya musik djent merupakan gagasan inovasi dari musik metal sebelumnya yang dimana dalam perkembangannya musik djent tidak terlepas dari pengaruh musik rock yang sangat fenomenal di dunia. Penelitian ini bertujuan untuk mendeskripsikan perkembangan musik djent dan faktor yang mempengaruhi perkembangan musik djent di Kota Malang. Penulisan penelitian ini dilakukan dengan menggunakan metode kualitatif yang bersifat deskriptif dengan analisis data berupa hasil wawancara dengan narasumber. Narasumber dalam penelitian ini ada Norman Duarte Tolle (35) sebagai musisi musik djent (C-Four) yang ada di Kota Malang, Aulia Rizky Fajar (24) sebagai gitaris musik djent di Kota Malang, Reynal Juliandi (27) sebagai pemerhati serta gitaris musik djent di pasuruan, Fauzan Sanjaya (24) Selaku anggota komunitas musik keras (Undisputed), dan Fajri Ramadhan (27) sebagai musisi musik djent (Ceara) di Jakarta. Observasi ditujukan untuk mengetahui perkembangan musik djent di Kota Malang berdasarkan tinjauan kelompok musik C-four. Hasil dari penelitian ini ialah bahwa eksistensi musik djent dapat dilihat melalui industri musik dan media internet yang sangat berperan penting bagi perkembangan musik djent sehingga genre tersebut mampu menyebar luas ke seluruh dunia, termasuk di Indonesia dan di Kota Malang. Kata kunci: perkembangan; musik djent; musisi; Malang