This research is an attempt by the author to answer various debates that exist to this day. This debate is often a stumbling block for musicians and also in the field of formal and non-formal education. They are in a confusing position because of the various terms that exist and the identification of the concept of Indonesian vocal music composition which is less comprehensive. Therefore, there is a personal selfishness that tends to reduce the true meaning of the work itself. The author uses a musicological perspective as an entry point to provide a new discourse regarding the composition of Indonesian vocal music. This musicological approach is a process of study, investigation and reflection while still paying attention to the relationship between context and compositional work. The author is also aware of the limitations of the space and time of the research, so that this research is not possible to fully cover all vocal music works composed by Indonesian composers. However, the author believes that the research approach carried out can be used to discuss other vocal music works.
This study aims to examine the contribution of Ananda Sukarlan as a composer who is serious about building an Indonesian identity through the use of various Indonesian musical elements as material in composing piano and vocal works. How composers arrange various musical aspects that can work in a composition is the focus of this research. The study of musicology is used as an approach to dissect various aspects of the musical used, such as; melody, harmony, texture, tonality, scale, rhythm, timbre. Archipelago musical elements are a fundamental aspect in composing works that have 'new values' and 'different tastes' because they have uniqueness or characteristics. The complexity of the compositional techniques used in the preparation of the work shows a high level of creativity in producing vistuosic works. His works have become a repertoire for recitals, competitions, and music concerts for Indonesian and foreign pianists and soloist singers. Studying the works of Ananda Sukarlan indirectly also understands the musical diversity, the beauty of the region and the rich history of Indonesian culture.
Poetry is a series of diverse complex parts of the artistic whole. Putting poetry together after analysis is like coordinating a musical performance; both actual poetry and actual musical composition converge into an artistic experience that grows deeper and deeper we understand it. Seriosa songs, the point is the equality of music and text, a synthesis of art forms from two different media. Those who fail to understand the meaning of poetry will be correlated with failure to understand the real meaning of music. Singers who have not thoroughly studied poetry cannot sing or play seriosa compositions with focus, imagination and vitality. The need to study poetry in preparation for seriosa performances is not an option, but rather becomes a major part of the basic work for seriosa singers and pianists. There is a phenomenon that occurs, especially in music education in Indonesia, they study seriosa songs by prioritizing notation without ever having the opportunity to learn language as art, either in poetry or in the form of prose. We separate poetry discussions into two basic components: poetry content and poetic forms. In addition to general concerns about word usage, we will also examine how words are chosen for language features that suggest the musical arrangement of the verse: words that exploit sound and color. Choosing certain words because their bright or dark sounds convey certain senses or emotions is one of the poet's most dramatic resources, and recognizing these loud and colorful words is of great concern to the composers who arrange poetry and singers who speak texts.
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