The Repertoire of Traditional Malay Ensemble as a Source of Violin Practice Learning Material

Abstract

This study aims to examine in depth how the process of applying the Malay traditional music ensemble reportoar as a teaching material in practical learning to play violin instruments in unimed music education study programs in the odd semester 2020-2021.Based on the monitoring carried out by the lecturer team in the learning process to play the violin that has occurred so far, the practice of playing the violin is still being carried out with teaching material playing western classical music and playing popular music styles. This study was conducted using a qualitative approach, namely following the opinions of Miles and Huberman (1984), namely (1) data collection, which was carried out through interviews, document digest observation, recording and recording; (2) data reduction, which is done by summarizing, selecting the main things, focusing on the important things, looking for themes and patterns and removing unnecessary ones; (3) data display (data presentation), which is done by showing the data and presenting it in the form of narrative text and charts; (4) conclusion drawing / verification which is carried out by drawing conclusions and verifying the research findings. In this study, the findings suggest that: 1) The learning process carried out in learning the violin in this study is to apply the tiered learning method, starting from the preparatory level learning, basic learning, middle level learning, and advanced learning. 2). The introduction of the main principle in recognizing cengkok and grenek in violin playing is in the form of the jump tone technique. For example, a violin melody can be played 7 notes or 8 notes in one beat, but the melody interval steps vary between second, terts, quart, quint and so on. However, in a grenek melody, the intervals played are only in the form of a second up or a second down.

Study of The Violin Book for The Development of Beginner Level Violin Teaching Materials Based on National Song

“…The four teaching materials contain various materials such as the organology of the violin instrument, how to hold the violin instrument, fingering (fingering), bowing, reading beam notation, and techniques for playing the violin instrument. This is in line with the beginner's proficiency level competencies revealed by Suroso et al (2020) and Coe (2009).…”

“…In playing the violin instrument there is a classification level of proficiency in playing the violin instrument according to Coe (2009) and Suroso et al (2020) including beginner (beginner), intermediate (intermediate), and advance (high). Based on these levels, of course there will be different competencies from the three levels of proficiency.…”

“…According to Suroso et al (2020) the competency of playing the violin instrument at beginner level proficiency is 1) understanding the organological parts of the violin instrument; 2) able to hold the violin and violin bow with good posture; 3) able to swipe the bow (bowing) correctly; 4) able to do finger postures well; 5) able to read beam notation and its application in playing violin instruments. On the other hand, Coe (2009) determines competence in terms of basic abilities for the beginner level, namely 1) knowing the parts of the violin instrument; 2) understand good posture in holding the violin instrument; 3) be able to read violin notation; 4) able to do fingering and bowing on the violin well; 5) playing the technique of the violin instrument.…”

Manajemen Pertunjukan Seni Tradisional Berbasis Keragaman Budaya dan Kearifan Lokal Sumatera Utara

“…Pengelola kebudayaan dalam sebuah event pertunjukan sebaiknya mengambil langkah antisipatif untuk mempersiapkan dan mempertahankan diri dengan tetap mengacu pada pembenahan total manejemen agar mutu sebuah pertunjukan seni tradisional menjadi lebih baik (Kusumastuti, 2006) Propinsi Sumatera Utara adalah salah satu propisi yang memiliki keragaman seni tardisional seperti seni patung atau seni ukir tradisional, seni tenun, seni musik ,seni tari bahkan seni drama tradisional dan sebagainya. Kelompok masyarakat yang bersala dari Suku atau etnis asli Sumatera Utara diantaranya adalah etnis Batak Toba, etnis Karo, etnis Simalungun, etnis Mandailing, etnis Angkola, etnis Pak-pak, etnis Melayu, etnis Nias dan beberapa etnis pendatang lainnya seperti Jawa, Minang, Tamil, Tionghoa dan lai-lain (Suroso: 2020) Keberagaman etnis atau suku bangsa yang ada di Sumatera Utara ini juga ikut berkuntri busi dalam meramaikan seni pertunjukan di berbagai wilayah di Sumatera Utara dengan model pertunjukan yang sangat beraneka ragam. Berbagai perhelatan pertunjukan seni tradisiona l maupun pameran seni tradisional ini tentu saja dapat menjadi daya tarik tersendiri bagi perkembangan industri pariwisata maupun pembangunan kebudayaan, namun demikia n berbagai jenis seni pertunjukan ini masih telihat apa adanya saja dan tentu saja masih kalah bersaing dengan model-model seni pertunjukan populer yang hadir ditengah-tengah kehidupan seni pertunjukan tradisional tersebut (Lampel, Lant & Shamsie: 2000).…”