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This research aimed to see the phenomenon of the bia music of the Minahasa tribe that needed to be carefully observed in considering Bia Music then until now was shifting and changing due to the society’s lack of awareness towards Bia Music. This traditional music was very concerning due to the decreasing quantity and quality of the players. The objectives of this research were to analyze: (1) the traditional music heritage and preserving tradition across generations and (2) the educational process in traditional musical performances. The research applied a qualitative method with data collecting techniques by interview, observation, and literature review. Data validation technique based on credibility criteria, using data triangulation. Data analysis techniques consisted of collection, data presentation, data reduction, and data verification. The results of the study show that the younger generation realizes that bia music has become distinctive music that belongs to the community. This music has become part of the social life of the people in Batu village, North Minahasa, so that the educational process in society occurs naturally as a model of inheritance that occurs continuously in society.

This study aims to describe the form and function of the solo guitar performance of Batang Hari Sembilan in Batu Urip hamlet, Batu Urip Taba village, Lubuklinggau city, South Sumatra. This study used a qualitative de-scriptive approach. Data collection techniques using observation, interviews, and documentation. The collected data were then analyzed using analytical and interactive techniques with data reduction, data presentation, and conclusion drawing. Based on the discussion that has been done, this study found that the Single Batang Hari Sembilan Guitar is a rhythm of guitar strings containing rhymes. Pantun is an identity and plays a very important role in the life of the community. The function of the pantun in the solo guitar performance of Batang Hari Sembilan was originally used as a communication function. Currently, this art performance has developed, namely as a ritual function, a function of preserving culture, a function of entertainment, a function of cultural continuity, a function of means of communication, and a function of emotional expression.

The purpose of this study is to describe the analysis of meanings in the A.T. Mahmud’s song lyrics. This research used the approach of music compositions and the language approach in semantics to find out the meanings of the lyrics. This research used content analysis techniques. The analysis includes two aspects; they are: (1) the analysis of the meanings of the song lyrics based on the language aspects; and (2) the analysis based on the aspects of the music compositions. The songs to be analyzed are Bintang Kejora, Pelangi, and Cicak. The lyrics of these songs indicate that in the process of creation, Mahmud focused on the beauty of the language, such as the diction, figure of speech, rhyme, and repetition. The songs use children words that correspond to the child's development, so that children understand and memorize easily. The songs created by A.T. Mahmud are mostly about daily life; the suitable themes for children’s characteristics and world. Based on the analysis in the music compositions, most of the songs form two parts and each part of the song consists of two phrases or sentences.

This paper is the result of the study and the implementation of learning in the field of the author, especially in the implementation of the study of Arts and Culture in the vocational schools. The purpose of this paper is to show that by learning local culture based on learning objectives the corresponding to the curriculum can be reached. In fact, the local culture also containing more local wisdom is felt directly by the students. The art of Reog, known around Pringapus Semarang Regency, can be used as a means of learning arts for students, especially in the activities of appreciation and expressions. The existing values in the art of Reog can be conceptually presented in class, as well as directly through the students’ activities of appreciation and expression in the form of performances in the school environment. Students can easily receive learning materials and can be more expressive while presenting the show. The values that are in the presentation of the art of Reog are social, religion, nationalism, and culture. Students can present Reog with enthusiasm and expressive as a show that has already exist for a long time in the environment of their own, and even many have become the performers of Reog in their neighborhood. Reog has already been part of his life that has the role of self-actualization, expression, social, and cultural. Most of those students feel proud to be a part in the show in his living quarters so that they do not feel ashamed of serving the art in school.

This research aims at examining how Banyumas people’s characteristics are symbolically expressed in Calung Banyumasan performance. This qualitative research employs a hermeneutic approach to examine any symbolic meanings in calung performance. The data are collected by literary study, document study, observation and interview, which are then analyzed using content analysis and interactive analysis of Miles and Huberman. The research results show that some song lyrics identify Banyumas people’s images and characteristics such as equality and honesty (cablaka) just like the ngoko level language they use. The performance consists of opening, Lenggeran, Badhudan, and Baladewan acts in the process of illustrating the character of Banyumas people who love jokes and crowd. Some aspects arising in performance reflect Banyumas people as an egalitarian, straightforward, like-to-gather, and syncretic society.

This study aims to identify a number of legendary Banyumasan songs. The fact that a large number of the songs exist and people sing the songs all the time shows that the songs have their own uniqueness. This study takes place in Banyumas regency. By doing performance study and composition, this study identifies the form and the structure of Banyumasan songs, and the moral value of Banyumasan music, especially the songs in Banyumasan music. The result of the study shows that the songs in the art performances in Banyumas commonly use classic immutable songs. The lyrics in the classic Banyumasan songs use Ngoko Javanese in Banyumasan dialect. The rhyme of the lyrics is usually in the form of wangsalan, parikan, and Essen-Essen. The rhyme contains funny and entertaining riddles. The lyrics of Banyumasan songs reflect Banyumas people’s character and the dream/utopia of the people’s ideology. The character is shown in the use of ngoko Javanese in Banyumas dialect which shows that the society is blakasuta or egalitarian who considers all people in the world has the same level and must be honest. How to Cite: Suharto, S. (2016). Banyumasan Songs As Banyumas People’s Character Reflection. Harmonia: Journal of Arts Research And Education, 16(1), 49-56. doi:http://dx.doi.org/10.15294/harmonia.v16i1.6460

This study aimed at describing the equivalence of eclessial song lyrics, which belong to the content word, the meaning of the sentences and their effect on church songs. The method used in this study is descriptive and qualitative by using music, language, and interdiciline approach. The data collection method used questionnaires technique, interview, documents and content analysis. The data used are 5 documents of songs chosen purposively as the primary data. Based on the data being analyzed, the results of this study were: 1) The translated content word located in the same bars and equivalent was around 27.07%, the translated content word located in the same bars, but not equivalent was 18.34%, the translated content word located in the different bars, but equivalent was 11.79%, the translated content word located in the different bars and not equivalent was 2.62%, and the untranslated words were 4.17%. 2) The translation of equivalence beautiful lyrics showed the beauty of the song was equivalent at 17.02%, the beauty of the song was less equivalent at 29.78%, the beauty of the song was not equivalent of 61.70%. 3). The differences of structure caused the incorrect dictions or choice of words and missing words in the translated lyrics.

Song is one form of typical communication. Therefore, singing is implemented in this study as a strategy to enhance the ability to speak. This study is aimed to find out the role of songs in enhancing the ability to speak for children in early childhood. This classroom action research is conducted in two cycles, there are: planning, acting out and observing, as well as reflecting. Data were collected by conducting observation technique, documentation, and test. It is shown from the results of the study that the ability of children to speak is increasing for every cycle. In the beginning, the cycle reached by only 56% or in the average 51, cycle I reached 60% with mean score 68,08 and cycle 2 reached 97% with the average score 83. From the percentage, it is shown that results of cycle II has passed the minimum score for students in Kindergarten level. In other words, it is proven that singing has been successfully implemented as a strategy in teaching speaking. It has enhanced the ability of children to speak. It is suggested for teachers in Kindergarten level to implement singing as a teaching strategy to bridge the need to teach Kindergarten students to speak during the learning process.

This research aims to identify in order to preserve traditional art lesung music in Blora Regency. This research use ethnomusicology approach. The subject of research is Blora people who still play lesung music as an expression of social and cultural activities in the community. The setting of the research took place in Ledok village. The technique of collecting data is observation and interview. The validity of data uses triangulation techniques. The data collected was analyzed with interactive type of Miles and Huberman. The result of research shows that the form of lesung music uses simple rhythms with elements of rhythm, melody, and harmony. Harmony in music is from the rhythmic beats of polyphonic arranged. This kind of music at first had any functions for the purposes of ritual, entertainment, welcoming guests, harvesting/offerings, a sign of the eclipse. Today, it serves as a means of musical entertainment at the village greeting, social interaction, and tourism. There is a shift of function due to the mindset of the people and the swift technology advances. Lesung music needs a modification in its presentation by adding songs and games. Another art element like dance can be added to make the show more interesting to be enjoyed.