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Journal articles on the topic 'Dance accompaniment music'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2025

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1

Rustiyanti, Sri, Wanda Listiani, Anrilia E. M. Ningdyah, Sriati Dwiatmini, and Suryanti Suryanti. "Musik Iringan Tari Pencak Silat Rancak Takasima dalam Koreografi Idiom Baru." Resital:Jurnal Seni Pertunjukan 25, no. 1 (2024): 98–114. http://dx.doi.org/10.24821/resital.v25i1.11998.

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The objective of this article is to elucidate the significance of music in complementing the choreography of the innovative Pencak Silat dance form known as Rancak Takasima. In the realm of dance performance, music plays a pivotal role as an accompaniment. While dance accompaniment music can exist independently, the reciprocal is not true – dance cannot be fully actualized without the support of accompanying music. Essentially, dance and music are inseparable counterparts, mutually enhancing and interdependent, akin to the interconnected sides of a coin. In the crafting of a dance performance,

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Sinaga, Theodora. "Music Composition of Accompaniment for Fusion Dance 8 Ethnics of North Sumatera." Budapest International Research and Critics Institute (BIRCI-Journal) : Humanities and Social Sciences 2, no. 2 (2019): 321–27. http://dx.doi.org/10.33258/birci.v2i2.266.

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This study aims to examine the process of creating musical accompaniment to dance composition and the function of music in a composition of dance works. This study is conducted by using qualitative descriptive method and systematic data analysis by using the concept of dance music creation theory to deepen and interpret data specifically, the answer are found that the process of creating a composition of dance accompaniment music with the theme of a combination of eight North Sumatra ethnic groups are as follows; 1) The creation process of the dance music is a process that involves intensely b

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SZALAY, Zoltan. "Istvan Pavai: Hungarian Folk Dance Music of Transylvania – Review." Bulletin of the Transilvania University of Braşov. Series VIII:Performing Arts 14(63), Special Issue (2022): 193–208. http://dx.doi.org/10.31926/but.pa.2021.14.63.3.19.

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Among the territories of the Carpathian Basin inhabited by Hungarians, Transylvania proved to be the most suitable field for the interethnic research of the music related to choreographic folklore. Most professional musicians in the rural areas, who receive regular or intermittent payment in money or other forms of remuneration, are of Romani ethnicity. The existence of musical instruments in the accompaniment of dances is richly documented since the 15th and 16th centuries. Hungarian ethnochoreology defines three types of musical accompaniments for the dances: rhythmic accompaniment (without

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Mabingo, Alfdaniels. "Music as a pedagogic tool and co-teacher in African dances: Dissecting the reflections and practices of teachers of cultural heritage dances in Uganda." Research Studies in Music Education 42, no. 2 (2019): 231–47. http://dx.doi.org/10.1177/1321103x19843202.

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The subject of the inseparability of music and dance in African artistic experiences has preoccupied scholars and researchers in the field of ethnomusicology, ethnochoreology, and musicology. Commonly, music is conceptualized as an accompaniment to dance. Moreover, the existing literary perspectives frame the inseparability of music and dance in African communities in aesthetical, structural, functional, and semiotic terms. This article provides an intellectual excursion that locates music as pedagogy of dances in African practices. It offers a critical examination of how teachers of cultural

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Murcahyanto, Hary, Riyana Rizki Yuliatin, and Erli Mita Rosani. "Teknik Iringan Musik dalam Komposisi Gerak Tari Oncer Lombok Tengah." PROMUSIKA 9, no. 1 (2021): 11–18. http://dx.doi.org/10.24821/promusika.v9i1.4881.

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Tari Oncer merupakan salah satu kesenian tari tradisional yang terus dijaga dan dilestarikan oleh warga Desa Puyung Kabupaten Lombok Tengah. Nama Tari Oncer diambil berdasarkan gerakan pokok tarian yang menyerupai gerakan ikan Sepat yang sedang berenang atau dalam bahasa Sasak disebut Pepait Ngoncer. Salah satu keunikan tarian ini adalah memiliki komposisi gerak yang berbeda dengan tarian yang ada di daerah tersebut. Selain itu tarian ini juga menggunakan iringan yang berbeda pada setiap gerakannya.Tulisan ini berdasarkan hasil penelitian yang bertujuan untuk mendeskripsikan komposisi gerak da

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Fitriani, Tri Sat, and Asep Saepudin. "MIDI SEBAGAI INOVASI DAN ALTERNATIF MUSIK IRINGAN TARI DI MASA PANDEMI." Melayu Arts and Performance Journal 5, no. 1 (2022): 85. http://dx.doi.org/10.26887/mapj.v5i1.2518.

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This paper discusses MIDI innovation for dance accompaniment needs. MIDI or Musical Instrument (with) Digital Interface, is a revolution in the development of music. Presentation of dance accompaniment using MIDI has several advantages in a technological update. MIDI innovations in this study are discussed using descriptive analysis methods. The dance accompaniment in question is a dance accompaniment that usually uses gamelan devices can be denoted in software in a system called MIDI. This topic is taken from the phenomenon that occurs in the Yogyakarta ISI Dance Department. With MIDI, a comp

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Purba, Johana Teresia. "KONTRIBUSI MUSIK KLASIK SEBAGAI IRINGAN TARIAN BALLET DI ROYAL BALLET CENTRE MEDAN." Grenek Music Journal 7, no. 2 (2018): 141. http://dx.doi.org/10.24114/grenek.v7i2.10655.

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This study aims to find out the background of the use of classical music as Balletdance accompaniment, whatever classical music title used as Ballet danceaccompanist, and how the contribution of classical music as Ballet danceaccompaniment.This research is based on a theoretical explanation of the meaningof contribution, classical music, music accompaniment and Ballet dance. Thisresearch was conducted in September 2017 until November 2017. This researchuses Qualitative Descriptive method, which become population and sample in thisresearch is Ballet students at Intermedite level at Royal Ballet

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BRUCHER, KATHERINE. "Assembly Lines and Contra Dance Lines: The Ford Motor Company Music Department and Leisure Reform." Journal of the Society for American Music 10, no. 4 (2016): 470–95. http://dx.doi.org/10.1017/s1752196316000365.

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AbstractThe automaker Henry Ford founded the Ford Motor Company Music Department in 1924 with the goal of reviving what he called “old-fashioned dancing and early American music.” Ford's interest in the Anglo-American social dances of his youth quickly grew from dances hosted by the Fords for company executives to a nationwide dance education program. This article traces the history of the Music Department's dance education program and examines the parallels between it and the company's earlier efforts in social engineering—namely the Ford Profit Sharing Plan (better known as the “Five Dollar

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Erinna Rahmalia, A. Heryanto, and Nofroza Yelli. "Bentuk Penyajian Tari Manggang Kemplang Oleh Sanggar Kipas Emas Di Kelurahan Timbangan Ogan Ilir." Imajinasi : Jurnal Ilmu Pengetahuan, Seni, dan Teknologi 1, no. 3 (2024): 15–25. http://dx.doi.org/10.62383/imajinasi.v1i3.208.

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Manggang Kemplang Dance is a dance that tells about the manggang kemplang tradition which reflects the local wisdom of the Ogan Ilir people in utilizing natural resources and local wisdom in processing food which is danced by 5 dancers. The problem in the research is the form of presentation of the Manggang Kemplang dance in Timbangan Village, Ogan Ilir Regency. The aim of this research is to find out and describe the form of presentation of the Manggang Kemplang dance by the Golden Fan Studio in Timbangan Village, Ogan Ilir Regency. This research uses qualitative methods with data collection

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Melano, Melano. "Melody Analysis of Jepin Selendang Dance Music accompaniment." TACET Jurnal Pendidikan dan Kajian Seni 3, no. 1 (2024): 12. http://dx.doi.org/10.26418/tacet.v3i1.75390.

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Musical accompaniment in a dance performance has an important role. Accompaniment music serves to clarify the accent of the movement in the dance, so that the message of a dance work can be conveyed. The aim is to describe, note and analyze the melody that is found in the accompaniment of the Jepin Selendnang dance music. The method used is descriptive analysis method and uses a musicological approach. Data collection was carried out by conducting observations and interviews with the researcher's data collection tool as the main instrument and using auxiliary instruments in the form of observa

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Coorevits, Esther, and Dirk Moelants. "Tempo in Baroque Music and Dance." Music Perception 33, no. 5 (2016): 523–45. http://dx.doi.org/10.1525/mp.2016.33.5.523.

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Growing interest in studies on the relationship between music and movement has given rise to many paradigms and theories, including embodied approaches that provide interesting methodologies in studies on music and dance. Insight into the relation between dance and music is particularly important for the Baroque period, as a direct connection between music and dance was omnipresent, even if music was not used to dance to. Many types of Baroque dances existed, each of them with particular dance steps and a specific character, requiring a specific tempo. However, in music performance practice to

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Ay, Hardiansyah. "Analysis of Besaman Music Rhythm Patterns." Journal of Music Science, Technology, and Industry 3, no. 1 (2020): 15–24. http://dx.doi.org/10.31091/jomsti.v3i1.960.

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Besaman (bersaman) is a daily mention of the Gayo people for art activities which are currently only known as saman dance. saman is a traditional Gayo art which includes music, dance and literature. Within the elements of music, dance and literature have an equally important portion, in which each type of art takes place in mutualism, such as the motion of creating music, music (melodic form of song and poetic structure) is considered in creating the rhythm of motion. In the perspective of dance music, saman is a dance that uses a form of music presentation internally, internally what is meant

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Santoso, Ahmad Teguh, and Wimbrayardi Wimbrayardi. "ANALISIS TARI PIRING KREASI SANGGAR SYOFYANI DALAM STUDI KASUS MUSIK IRINGAN TARI." Jurnal Sendratasik 8, no. 1 (2019): 18. http://dx.doi.org/10.24036/jsu.v8i1.106414.

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Abstract The purpose of this study is to describe results of the analysis of creative Piring Dance at Syofyani's studio in the Case Study of Dance Accompaniment which is viewed from the relationship of the dance movements to the music rhythm. This type of research was qualitative research with using a content analysis approach. The instrument of this research was the researcher and it was assisted by supporting instruments such as stationery, camera and laptop. The types of data used were primary and secondary data. Techniques of data collection were conducted by doing library research, observ

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Saldi, Putu. "Wija Kusuma Dance Accompaniment Music | Musik Iringan Tari Wija Kusuma." GHURNITA: Jurnal Seni Karawitan 3, no. 2 (2023): 190–96. http://dx.doi.org/10.59997/jurnalsenikarawitan.v3i2.1355.

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Dalam kehidupan sosial budaya khususnya di pulau Bali dan Indonesia pada umumnya tidak akan pernah terlepas dengan unsur seni tabuh atau karawitan dan juga seni olah gerak atau seni tari, kedua unsur ini tidak bisa dipisahkan antara satu dengan lainnya seperti konsep purusa dengan pradana. Sama halnya dengan prosesi upacara yadnya maupun pelaksanaan acara tanpa dibarengi dengan gamelan dan tarian nuansanya akan terasa jauh berbeda. sesuatu hal yang kurang di zaman ini kebudayaan yang dulunya memiliki kejayaan kembali dibangkitkan sebagai suatu langkah untuk pengembangan dan pelestarian kebuday

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Zeng, Li. "Analysis of the Stage Performance Effect of Environmental Protection Music and Dance Drama Based on Artificial Intelligence Technology." Journal of Environmental and Public Health 2022 (September 19, 2022): 1–10. http://dx.doi.org/10.1155/2022/2891993.

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There are a lot of environmental protection musicals and dances in public entertainment life to support the concept of environmental protection and to entice people to support the cause of environmental protection. As we all know, in a musical performance, the distance between the audience and the actors, the design of the stage environment, the training of the actors, the costumes of the actors, the makeup of the actors, and the musical accompaniment will all have more or less influence on the stage performance effects. In order to make environmental protection music and dance dramas profound

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Wiflihani, Wiflihani, Pita HD Silitonga, and Herna Hirza. "Digitalization of North Sumatera Malay Ritual Music Using Cubase 5 Software." Budapest International Research and Critics Institute (BIRCI-Journal) : Humanities and Social Sciences 2, no. 4 (2019): 556–66. http://dx.doi.org/10.33258/birci.v2i4.657.

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The high level of need of dance artists in North Sumatra for digital audio of Malay ritual dance music while the digital material is not publicly available. This triggers researchers to conduct research on the use of this cubase music software as an alternative in the process of packaging the learning material of musical accompaniment of the Gobuk Bedagai Malay ritual dance into digital audio. The method used in this study is an experimental approach to the process of packaging the learning material of musical accompaniment of the Gobuk Bedagai Malay ritual dance into digital audio. The packag

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Fatrina, Novina Yeni, and Yan Stevenson. "Perubahan Dan Keberlanjutan Tari Balanse Madam Di Lingkungan Masyarakat Nias Padang." Mudra Jurnal Seni Budaya 33, no. 1 (2018): 93. http://dx.doi.org/10.31091/mudra.v33i1.318.

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Tulisan berjudul “Perubahan dan Keberlanjutan Tari Balanse Madam di Lingkungan Masyarakat Nias Padang“ bertujuan untuk mengungkapkan perubahan tari Balanse Madam serta menganalisis keberlanjutannya. Tari Balanse Madam merupakan tarian kelompok yang terdiri dari pasangan penari laki-laki dan perempuan yang sudah menikah. Penampilannya diiringi secara live dengan alat musik barat seperti biola, gitar, tamburin, akordeon, dan set drum. Namun setelah banyak para pelaku seninya yang meninggal dunia, sehingga tari Balanse Madam mengalami perubahan. Perubahan terjadi pada penarinya, tidak harus orang

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Saputri, Indah Ayu. "STRUKTUR DAN BENTUK GENDING TARI HANDAGA BUGIS DI PURA MANGKUNEGARAN." Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi 22, no. 2 (2023): 237–50. http://dx.doi.org/10.33153/keteg.v22i2.4807.

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The Handaga Bugis dance at Mangkunegaran Temple is a wireng genre dance. The presentation of this dance cannot be separated from the musical accompaniment as one of the determining factors for the success of the performance both in welcoming guests at the Mangkunegaran Temple and in a festival. This study aims to describe the structure and form of music in the Handaga Bugis dance performance at Mangkunegaran Temple. Qualitative research methods with observation and interview techniques are used to support the data collection process in this study. In its presentation, this dance has standard m

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Mahendra, Benny, Noor Cahaya, and Muhammad Najamudin. "Music Accompaniment Of Japin Carita South Kalimantan." Jurnal Seni Musik 10, no. 1 (2021): 76–80. http://dx.doi.org/10.15294/jsm.v10i1.42883.

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This research was conducted due to the lack of public knowledge about the music accompaniment of Japin Carita from South Kalimantan. This research focused more on the theory and practice of music science regarding the music accompaniment of this local South Kalimantan theater. This research used naturalistic qualitative method because it was held in natural conditions (natural setting), this method is also called the ethnographic method. Data gathering techniques include; observation, interview, documentation. Data analysis techniques include data reduction, data presentation, and verification

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Putri, Restu, and Jamaris Jamna. "The Relationship Between Musical Accompaniment Learning Media and the Skills Learning Outcomes of Participants in Traditional Minangkabau Dance Training at Baiturrahmah Studio Padang City." SPEKTRUM: Jurnal Pendidikan Luar Sekolah (PLS) 9, no. 2 (2021): 188. http://dx.doi.org/10.24036/spektrumpls.v9i2.112369.

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This research was motivated by the success of the Baiturrahmah Studio in carrying out training activities. This can be seen from the activeness of the training participants in participating in training activities and the large number of participants invited to major events. This is because the media used in the training activities use direct music accompaniment that is played by the musician. The purpose of this study was to determine the relationship between the musical accompaniment learning media and the learning outcomes of the training participants at the Baiturrahmah Studio, Padang City.

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Niza, Niza Vayatul, and Yusnizar Heniwaty. "EKSISTENSI TARI POH KIPAH PADA MASYARAKAT LHOKSEUMAWE." Gesture : Jurnal Seni Tari 7, no. 2 (2019): 59. http://dx.doi.org/10.24114/senitari.v7i2.13305.

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ABSTRACT This study is a study of the existence of Poh Kipah dance in Lhokseumawe community. In this discussion using the theories relating to the topic of research is the theory of existence.The method used in this research is qualitative research method. The population in this study as well as a research sample of artists and dancers. Data collection techniques include literature study, interview, observation, and documentation.Based on the research that has been done, the existence of Poh Kipah dance which is seen from three time span, first from 1959-1979, Poh Kipah dance at this time beco

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Fatmala, Rahma. "ANALISIS KOREOGRAFI TARI MELINTING LABUHAN MARINGGAI KABUPATEN LAMPUNG TIMUR." Joged 13, no. 1 (2019): 91–101. http://dx.doi.org/10.24821/joged.v13i1.2810.

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Tari Melinting adalah tari tradisional Lampung yang diciptakan oleh Ratu Melinting di Labuhan Maringgai Kabupaten Lampung Timur pada abad ke-16. Tari ini ditarikan oleh delapan orang penari yang terdiri dari empat orang penari putra dan empat orang penari putri dengan pola lantai yang unik. Keunikan lainnya adalah kostum yang dipakai, yakni siger Melinting yang menutupi sebagian wajah penari perempuan, musik iringan, dan properti yang dipakai yaitu kipas, Cara menggerakkan kipas, serta henjutan kaki penari menjadikan penulis tertarik untuk menganalisis koreografi tari ini. Untuk menjawab perma

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Fatmala, Rahma. "ANALISIS KOREOGRAFI TARI MELINTING LABUHAN MARINGGAI KABUPATEN LAMPUNG TIMUR." Joged 10, no. 1 (2019): 91–101. http://dx.doi.org/10.24821/joged.v10i1.2810.

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Tari Melinting adalah tari tradisional Lampung yang diciptakan oleh Ratu Melinting di Labuhan Maringgai Kabupaten Lampung Timur pada abad ke-16. Tari ini ditarikan oleh delapan orang penari yang terdiri dari empat orang penari putra dan empat orang penari putri dengan pola lantai yang unik. Keunikan lainnya adalah kostum yang dipakai, yakni siger Melinting yang menutupi sebagian wajah penari perempuan, musik iringan, dan properti yang dipakai yaitu kipas, Cara menggerakkan kipas, serta henjutan kaki penari menjadikan penulis tertarik untuk menganalisis koreografi tari ini. Untuk menjawab perma

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Cita Hapsari, Maria Magdalena, and Muh Fakhrihun Naam. "Musical Accompaniment in Dolalak Dance: The Perspective of Beauty Philosophy." Jurnal Seni Musik 12, no. 2 (2023): 247–59. http://dx.doi.org/10.15294/jsm.v12i2.77460.

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Dolalak is an art form that encompasses the integration of dance and music components. Dolalak, a widely known folk art form, continues to thrive in the local community of Purworejo Regency, located in the province of Central Java. This form of Dolalak art is classified within the collective folk art genre, serving as a distinctive representation of the artistic tradition found in Purworejo Regency. This research is of the qualitative descriptive type. The data collection technique employed in this research is document study. The data analysis technique in this research involves data collectio

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Jamilah, Jamilah, Heriyati Yatim, and Andi Padalia. "FORM OF PRESENTATION OF UMAPOS DANCE IN BALANTAK TRIBAL COMMUNITY." JURNAL PAKARENA 7, no. 1 (2022): 26. http://dx.doi.org/10.26858/p.v7i1.33132.

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This study aims to find out and describe the Form of Presentation of Umapos Dance in the Balantak Tribe Community in Luwuk Banggai Regency, Central Sulawesi. This research uses a descriptive qualitative approach, focusing on the Form of Umapos Dance Presentation in the Balantak Tribe Community in Luwuk Banggai Regency, Central Sulawesi. Data are obtained through observation or observation, interviews, and documentation. Data analysis is carried out by reducing the data and inferring the data correctly. The results showed that the form of presentation of Umapos Dance in the Balantak Tribal Comm

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Arbi, Bahtiar, and Richard Junior Kapoyos. "BENTUK PERTUNJUKAN DAN FUNGSI BUNDENGAN WONOSOBO." Tonika: Jurnal Penelitian dan Pengkajian Seni 2, no. 2 (2019): 11–26. http://dx.doi.org/10.37368/tonika.v2i2.105.

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Bundengan is a musical instrument that is transformed from kowangan or tudhung. Kowangan is a kind of head covering made from bamboo slats, clumpring, and palm fibers that are used by duck herders to protect them from rain and sunlight. Bundengan is used as a dance accompaniment as in Lengger and Soreng. The purpose of this study is to analyze the form of performance and function of bundengan art. This study uses qualitative methods with data collection techniques interviews, observation, and study documents. Data validity techniques are based on credibility criteria, using data triangulation,

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Syahbandi, Heri. "ANALISIS POLA TABUHAN BERUAS PADA MUSIK IRINGAN TARI JEPIN TALI BINTANG DI DESA KALIMAS KECAMATAN SUNGAI KAKAP KABUPATEN KUBU RAYA." TACET Jurnal Pendidikan dan Kajian Seni 3, no. 2 (2024): 65–73. https://doi.org/10.26418/tacet.v3i2.86569.

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Background of this research is that there are no Beruas musical instruments as accompaniment to Jepin Tali Bintang Dance music, especially in Kalimas Village, Sungai Kakap District, Kubu Raya Regency. This has become an issue and concern of the supporting community for traditional arts because it can experience extinction if it is not maintained and preserved. Through the analysis of Beruas drumming patterns in Jepin Tali Bintang dance accompaniment music, this research aims to describe the variety of drumming patterns in the form of transcripts so that it can be a means for Beruas players and

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Ismunandar, Ismunandar. "Kreativitas Juhermi Tahir dalam Tari Jepin Tali Bui Kota Pontianak." Aksara: Jurnal Ilmu Pendidikan Nonformal 8, no. 2 (2022): 1093. http://dx.doi.org/10.37905/aksara.8.2.1093-1116.2022.

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<p>Jepin Tali Bui dance in general as an art form that was inherited by the culture of the old people. The Jepin Tali Bui dance continues to develop in West Kalimantan, both from the development of movement steps, music, property accompaniment, clothing and art performers. Where in terms of motion, it does not leave the typical movement of the jepin movement, namely the number of foot movements and placing the heel at the beginning of the movement. Typical Malay music with stringed and segmented musical instruments, a very distinctive property of the tali bui jepin dance is the rope. For

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Apriliani, Helda, Dwiyana Habsary, and Nabilla Kurnia Adzan. "MULI BEKIPAS DANCE FORM AT KUSUMA LALITA STUDIO, METRO CITY." International Journal of Advanced Research 12, no. 01 (2024): 799–805. http://dx.doi.org/10.21474/ijar01/18189.

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This research discusses the study of the Muli Bekipas dance choreography at the Kusuma Lalita studio in Metro City. This research aims to describe the study of choreography in the Muli Bekipas dance which includes movements, floor patterns, make-up, clothing, dance props and musical accompaniment. The research design is a qualitative method with data collection techniques in the form of observation, interviews and documentation. The theory used in this research is Sumandiyo Hadis choreographic study concept which describes or records dance by analyzing dance phenomena that are visible from the

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Tyas, Galuh Haryanti Manunggaling, and Srihadi Srihadi. "BENTUK DAN FUNGSI SANDUR DI DESA SUKOREJO KECAMATAN PARENGAN KABUPATEN TUBAN." Greget: Jurnal Pengetahuan dan Penciptaan Tari 19, no. 2 (2020): 125–41. http://dx.doi.org/10.33153/grt.v19i2.3459.

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Sandur in his show tells about the life of people who have a livelihood as a farmer. The problem in this research is how sandur shows form and how Sandur functions. Based on the object studied, this research uses qualitative method. To discuss the form using the concept of Sal Murgiyanto and I Made Bandem which discuss elements of traditional theater which includes dialogue, decorating, dance, accompaniment music, makeup, costumes and dance. Discussing the problem of function using the concept of SD Humardani which belongs to social functions including entertainment functions, educational func

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Sari, Mia Julita, Nugroho NAD, and Auzy Madona Adoma. "Bentuk Tari Munai Serapah di Sanggar Seni Sedulang Setudung Kabupaten Banyuasin (Komponen Nonverbal)." Indonesian Research Journal On Education 3, no. 2 (2023): 1006–10. http://dx.doi.org/10.31004/irje.v3i2.115.

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The purpose of this study was to determine and describe the form of Munai Serapah Dance in Sedulang Setudung Art Studio, Banyuasin Regency. The method used in this research is the qualitative method. The data collection techniques in this research are observation, interviews, and documentation. The data analysis technique used is data reduction, data presentation, and conclusion drawing. The results showedthat the body movements in munai serapah dance use basic Malay movements that are developed and created so as to create movements and music that are in harmony without reducing the meaning of

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Maulana, Irmawan, and Nuryono Satya Widodo. "Sistem Pengolah Musik Sebagai Kontrol Gerak Robot Humanoid." Buletin Ilmiah Sarjana Teknik Elektro 1, no. 2 (2019): 46. http://dx.doi.org/10.12928/biste.v1i2.915.

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Pada Kontes Robot Seni Tari Indonesia (KRSTI), mengharuskan peserta untuk dapat membuat robot yang dapat menari secara otomatis dengan diiringi alunan musik. Tujuan penelitian ini adalah membuat robot humanoid yang dapat menari ketika musik pengiring diputar dan berhenti ketika musik berhenti. Penelitian ini menggunakan IC MSGEQ7 sebagai pengolah musik karena IC ini dapat membaca nilai frekuensi musik secara detail sebanyak tujuh frekuensi yaitu frekuensi 63Hz; 16Hz; 400Hz, 1kHz; 2,5kHz; 6,25kHz; dan 16kHz. Ketujuh frekuensi tersebut dijadikan acuan sebagai isyarat robot untuk bergerak atau be

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Akbar, Nanang, Mastri Dihita Sagala, and Nurmila Sari Djau. "Interaksi Simbolik dalam Penyajian Musik Iringan Tari Rampak Rebana di Sanggar Andari Pontianak." Satwika : Kajian Ilmu Budaya dan Perubahan Sosial 8, no. 2 (2024): 472–79. http://dx.doi.org/10.22219/satwika.v8i2.33930.

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Keberhasilan sebuah penyajian kesenian tradisional merupakan hasil dari proses interaksi antar para pemain, baik melalui verbal maupun melalui simbol. Tujuan penelitian ini untuk mengungkapkan bagaimana proses interaksi simbolik antara penari dan pemusik dalam sebuah penyajian musik iringan Tari Rampak Rebana di Sanggar Andari Pontianak. Penelitian ini menggunakan metode deskriptif kualitatif untuk menyajikan segala proses interaksi yang terjalin dari proses awal garapan, latihan, hingga penyajian karya. Pendekatan penelitian menggunakan pendekatan sosiokultur untuk mengungkapkan bagaimana pro

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HÎRȚESCU, Diana Petronela, and Nicolae SILISTRARU. "Formation of children’s ethnoartistic culture in the perspective of popular music and dance." Univers Pedagogic 86, no. 2 (2025): 75–80. https://doi.org/10.52387/1811-5470.2025.2.10.

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The text analyzes the formation of children’s ethno-artistic culture from the perspective of folk music and dance, highlighting their fundamental role in preserving cultural identity and transmitting traditional values. The study explores the diversity of Romanian folk dances, the geographical and historical influences on choreographic styles and the impact of music on the dynamics and expressiveness of movements. The rhythmic structure, tempo and instrumental accompaniment are also analyzed, as well as the importance of shouts as essential elements of the folk performance. These perspectives

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Permata, Maghfirah Murni Bintang, Rika Wirandi, and Berliana Denada. "Bentuk Penyajian Tari Sining Pada Masyarakat Gayo Aceh Tengah." Journal of Education, Humaniora and Social Sciences (JEHSS) 3, no. 2 (2020): 493–505. http://dx.doi.org/10.34007/jehss.v3i2.351.

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This paper aims to describe the form of presentation of the sining dance in the Gayo community of Central Aceh Regency. Sining dance is a dance whose form of movement is inspired by nature. The movements are pure and use a lot of mimitive movements. This dance is also one of the traditional dances that was extinct and was then made a revitalization effort by the Central Aceh Kuta Dance Studio. This study focuses the problem on the form of presentation of the Sining Dance. To analyze the problem, Soedarsono used the theory of presentation forms, which said that, the form of presentation in danc

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Risqi, Dini Permata, and Syahrul Syah Sinaga. "Musical Expression On The Ksyr Lestari Group’s The Sintren Art Of Luwijawa Village In Tegal Regency." Jurnal Seni Musik 11, no. 1 (2022): 92–101. http://dx.doi.org/10.15294/jsm.v11i1.53017.

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The KSYR Lestari Sintren art group is an art group that has musical expressions in their performances with songs that are played and add various atmospheres to the performance of each scene. The songs of the Sintren art show involve the musical function of Sintren art dance performed by the KSYR Lestari group. This study aims to identify and explain the musical expression of the song type performed and the musical function of the Sintren art dance of the KSYR Lestari group. This study used a qualitative research method with a phenomenological approach and the data collection techniques used in

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Bisma, I. Wayan Arya, and I. Gede Yudarta. "I Dewa Putu Rai's Creative Process in Creating the Music Accompanying “Kumbang Atarung” Dance." Journal of Aesthetics, Creativity and Art Management 3, no. 1 (2024): 46–51. http://dx.doi.org/10.59997/jacam.v3i1.3699.

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This study was conducted to explore creativity in the dance’s accompanyment musical work called "Kumbang Atarung" by a musical artist from Pengosekan, Ubud, Bali, Indonesia I Dewa Putu Rai so as to reveal his views and method of creating work. I Dewa Putu Rai is an artist who has courage, artistic intelligence, innovative spirit and high creative power. This study uses a qualitative descriptive approach, through observation and interview data collection techniques. One of the results of his creativity is the accompaniment to the Kumbang Atarung dance. The factors driving I Dewa Putu Rai's crea

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Rahina, Kinanti Sekar. "Analysis of The Choreography of Kenes Ghandes Dance At Kinanti Sekar Art Studio." Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni 25, no. 2 (2024): 209. http://dx.doi.org/10.26887/ekspresi.v25i2.3672.

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This study aims to read and recognize the 'Kenes Gandhes' dance work, a dance that depicts the agility and grace of Javanese women. It is developed from various dances found in several regions of the Special Region of Yogyakarta, choosing creative dance movements as its form. Kenes Gandhes dance, accompanied by vibrant music, is neatly packaged by its choreographer by combining elements and movements of Tradition and developing them into a new creative dance work. The choreographer and creator of Kenes Gandhes, Kinanti Sekar Rahina, categorizes Kenes Gandhes as a dance for children aged 13 to

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PLAKHOTNYUK, Oleksandr, Anastasiya HRYNENKO, and Andriy YATSELENKO. "CHOREOGRAPHIC AND MUSICAL ANALYSIS OF DANCE CULTURE ACCOMPANIMENT OF LEMKIV REGION." Bulletin of the Lviv University. Series of Arts Studies 109, no. 21 (2023): 81–90. http://dx.doi.org/10.30970/vas.21.2023.12132.

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The matter about formulation, study and inveStigation process of the formulation of choreography culture in Ukraine as for example of Ukrainian ethnographic region of Lemkivshchyna is considered in the given article . The outlining of the matters of the importance of spreading and popularization of Ukrainian original culture, therefore the understanding and realization of the importance of saving the traditions of dancing Ukrainian culture in the modern world is done. The object of the article – to consider the eminent features of the national dancing culture of Ukraine on the basis of the exa

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Mahdiansyah, Mahdiansyah. "Tari Kreasi Babangsai Babanjaran di Sanggar Labastari Kandangan." Pelataran Seni 1, no. 1 (2016): 39. http://dx.doi.org/10.20527/jps.v1i1.1450.

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AbstractThis study aims to determine the form of presentation of dance creations Babangsai Bakanjaran terms of the motion structure, musical accompaniment, makeup-fashion, property and the venue. The object of research is descriptive qualitative art gallery Labastari Kandangan in Hulu Sungai Selatan, South Kalimantan Province. Data collection techniques using field observations, interviews and documentation. Based on the survey results revealed that the form of presentation of dance creation Babangsai Bakanjaran motion that has a structure of early motion, motion climax and final movements. Mu

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Adekogbe, Olatunbosun Samuel. "Breaking barriers and stimulating dance accompaniment to popular music in Nigeria." Journal of Music and Dance 13, no. 1 (2023): 1–12. http://dx.doi.org/10.5897/jmd2018.0072.

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Rizka Putri Ananda and Herlinda Mansyur. "Koreografi Tari Talam Sapinggan Di Sanggar Lindang Urek Kecamatan Payakumbuh Timur." Atmosfer: Jurnal Pendidikan, Bahasa, Sastra, Seni, Budaya, dan Sosial Humaniora 1, no. 4 (2023): 52–62. http://dx.doi.org/10.59024/atmosfer.v1i4.319.

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This study aims to explain and describe the Choreography of Talam Sapinggan Dance at Sanggar Lindang Urek, East Payakumbuh District, Payakumbuh City. This research is qualitative research with descriptive method. The instrument of this study is the researcher himself. Data were collected using literature studies, observations, interviews and documentation. The steps of analyzing data are data reduction, data presentation, and conclusion drawing. Sanggar Lindang Urek creates Talam Sapinggan dance to function as a performance art and entertainment. Aspects of Talam Sapinggan dance form are movem

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Ratmi, Yedes, and Nerosti Nerosti. "Tari Rentak Kudo Dari Ritual Panen Ke Hiburan Di Desa Tanjung Sungai Penuh." Jurnal Sendratasik 10, no. 3 (2021): 90. http://dx.doi.org/10.24036/js.v10i3.114480.

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This study aims to analyze the change in the function of Rentak Kudo Dance from harvest rituals to entertainment in Hamparan Rawang Subdistrict, Sungai Penuh City. The analysis focused on Rentak Kudo dance performances in entertainment events at weddings. This type of research is qualitative with descriptive analytical methods. The object of the research is Rentak Kudo Dance in Hamparan Rawang Subdistrict. The main instrument is the researcher himself who assisted with the tool in collecting data in the field in the form of stationery and photo cameras. Data collection techniques in the form o

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Sari, Putri Yunita Permata Kumala. "Etnokoreologi Tari Topeng Banjar pada Upacara Manuping Desa Banyiur Luar Banjarmasin." Pelataran Seni 4, no. 1 (2020): 1. http://dx.doi.org/10.20527/jps.v4i1.5608.

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IntisariArtikel ini merupakan kajian etnokoreologi tari topeng Banjar dalam upacara manuping di Desa Banyiur Luar, Kota Banjarmasin. Pen-dekatan kualitatif-deskriptif dipilih dalam penelitian ini. Pengumpulan data menggunakan teknik triangulasi (observasi, wawancara, dokumentasi). Analisis data dilakukan dengan model Miles dan Huberman. Data bentuk topeng dianalisis dengan pende-katan ikonografi model Alessandra Iyer, fisiognomi, dan semiotika. Hasil kajian ini menemukan dalam upacara manuping di Desa Banyiur Luar terdapat sembilan ragam tarian atau karakter topeng. Tari topeng ini merupakan s

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Pramesti, Regitha Vidia, Agus Budiman, and Tatang Taryana. "The Representation of Human Inner Conflict in the Topeng Tarung Dance." Journal of Dance and Dance Education Studies 5, no. 1 (2025): 66–78. https://doi.org/10.17509/jddes.v5i1.82152.

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This study aims to describe the background behind the creation of a dance work that represents the internal conflict of human beings, expressed through choreographic structure, makeup, costume, and musical accompaniment. The research adopts a qualitative paradigm with a descriptive method, using an ethnocoreological approach to analyze both the text and context of Tarung Mask Dance. Data collection methods include observation, interviews, and documentation studies, analyzed using triangulation techniques. The findings reveal that the Tarung Mask Dance is a dance creation rooted in Sundanese tr

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Rumiwiharsih. "Implementation of Problem Based Learning in Dance Education." INTERNATIONAL JOURNAL OF MULTIDISCIPLINARY RESEARCH AND ANALYSIS 07, no. 07 (2024): 3459–65. https://doi.org/10.5281/zenodo.12803779.

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Implementation of problem-based-learning in dance education have not simple. Provide an overview of the lesson problem-based-learning and describe the specific features that define this teaching model. Describe the theoretical basis of the model problem-based-learning and summarizes the research supporting its use. Explains how to plan and use the problem based learning model, including how to adapt its use to students with different abilities and backgrounds (Arends: 2008). Describe how to implement a learning environment that is conducive to use problem-based-learning. Describe appropriate w

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Clara Ayu Gita Romantri Riyanto and Rina Martiara. "Makna Uang Panaik dalam Pernikahan Suku Bugis-Makassar sebagai Ide Penciptaan Tari Akkulle." Jurnal Riset Multidisiplin Edukasi 2, no. 5 (2025): 109–18. https://doi.org/10.71282/jurmie.v2i5.267.

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The Akkulle dance work is a work inspired by one of the series of traditional wedding processions, namely madduppa botting, which exists in the Bugis-Makassar tribe from South Sulawesi Province. The word Akkulle itself comes from the Bugis-Makassar language which means capable, where when men want to marry women they must be able to work hard, struggle, try and never give up to collect Panaik money. The process of creating the Akkulle dance work refers to the traditional procession or habits of the Bugis-Makassar people in carrying out the wedding procession. The Akkulle dance work departs fro

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Wijayanti, Sinta. "BENTUK TARI ZAHIFA PADA UPACARA PERKAWINAN MASYARAKAT ARAB DI KOTA MEDAN." Gesture : Jurnal Seni Tari 6, no. 1 (2017): 06. http://dx.doi.org/10.24114/senitari.v6i1.5695.

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This study aimed to describe Zahifa Dance Forms In Marriage Ceremony Arab Society in Medan include: (1) the function of dance, (2) form Dance Zahifa In Marriage Ceremony Arabs in the city of Medan. The theoretical foundation of this research is grounded in the theory of functions and the theory that examines forms Zahifa dance based on dance, Typewriter and accompaniment, makeup and clothing, as well as the venue floor pattern. This study used a qualitative descriptive approach. This research data is, functions and forms of dance Zahifa In Marriage Ceremony Arabs in the city of Medan. The data

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Deni, Deni, Nurmila Sari Diau, and Mastri Dihita Sagala. "ANALYSIS OF SARON MELODY IN THE MUSIC ACCOMPANYING THE BUTO DANCE IN SEPANDAK VILLAGE, SAMBAS DISTRICT." International Journal of Learning and Instruction (IJLI) 6, no. 2 (2024): 58–64. https://doi.org/10.26418/ijli.v6i2.77641.

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This research discusses the analysis of the Saron melody in the accompanying music for the Buto dance in Sepandak Village, Sambas Regency. A literature review related to the analysis of the Saron melody as an accompaniment to the Buto Dance will help in understanding how the Saron melody in the accompanying music for the Buto Dance functions as the main melody which has a high pitch, so that the rhythm is played will be better. sounds clearer. The research method uses analytical qualitative and qualitative research forms with musicological and ethnomusicological approaches. Researchers collect

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Wang, Fengfei. "Metaverse-Empowered Music and Dance: Experience of Emotion and Scene Unification." Mobile Information Systems 2022 (April 4, 2022): 1–9. http://dx.doi.org/10.1155/2022/2455782.

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Music and dance are closely related and symbiotic. On the one hand, dance often requires music accompaniment. On the other hand, dance can enrich the melody and style of music. The emergence of the metaverse has taken the experience of music and dance to a new level. This paper studies the three-dimensional situational experience of music and dance in Virtual Reality (VR) empowered by metaverse to feel the beauty of situational integration. After the spherical video is projected onto a two-dimensional plane to form a panoramic video, the two-dimensional panoramic video needs to be converted in

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