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Pembelajaran Praktik Biola Melalui Tiga Buku Karya C

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Pembelajaran Praktik Biola Melalui Tiga Buku Karya C PEMBELAJARAN PRAKTIK BIOLA MELALUI TIGA BUKU KARYA C. PAUL HARFURTH, SUZUKI, DAN ABRSM PADA TINGKATAN PRADASAR DAN DASAR I DI CHANDRA KUSUMA SCHOOL: KAJIAN TERHADAP KELEBIHAN, KELEMAHAN, DAN SOLUSI TESIS Oleh SOPIAN LOREN SINAGA NIM. 117037004 PROGRAM STUDI MAGISTER (S2) PENCIPTAAN DAN PENGKAJIAN SENI FAKULTAS ILMU BUDAYA UNIVERSITAS SUMATERA UTARA MEDAN 2012 Universitas Sumatera Utara PEMBELAJARAN PRAKTIK BIOLA MELALUI TIGA BUKU KARYA C. PAUL HARFURTH, SUZUKI, DAN ABRSM PADA TINGKATAN PRADASAR DAN DASAR I DI CHANDRA KUSUMA SCHOOL: KAJIAN TERHADAP KELEBIHAN, KELEMAHAN, DAN SOLUSI T E S I S Untuk memperoleh gelar Magister Seni (M.Sn.) dalam Program Studi Magister (S-2) Penciptaan dan Pengkajian Seni pada Fakultas Ilmu Budaya Universitas Sumatera Utara Oleh SOPIAN LOREN SINAGA NIM 117037004 PROGRAM STUDI MAGISTER (S2) PENCIPTAAN DAN PENGKAJIAN SENI FAKULTAS ILMU BUDAYA UNIVERSITAS SUMATERA UTARA MEDAN 2013 Universitas Sumatera Utara Judul Tesis : PEMBELAJARAN PRAKTIK BIOLA MELALUI TIGA BUKU KARYA C. PAUL HARFURTH, SUZUKI, DAN ABRSM PADA TINGKATAN PRADASAR DAN DASAR I DI CHANDRA KUSUMA SCHOOL:KAJIAN TERHADAP KELEBIHAN, KELEMAHAN, DAN SOLUSI Nama : Sopian Loren Sinaga Nomor Pokok : 117037004 Program Studi : Magister (S2) Penciptaan dan Pengkajian Seni Menyetujui Komisi Pembimbing, Drs. Muhammad Takari, M.Hum., Ph.D. Dra. Heristina Dewi, M.Pd. NIP. 196512211991031001 NIP. 196605271994032010 Ketua Anggota Program Studi Magister (S-2) Fakultas Ilmu Budaya Penciptaan dan Pengkajian Seni Dekan, Ketua, Drs. Irwansyah Harahap, M.A. Dr. Syahron Lubis, M.A. NIP 196212211997031001 NIP 195110131976031001 Universitas Sumatera Utara Tanggal lulus: Telah diuji pada Tanggal PANITIA PENGUJI UJIAN TESIS Ketua : Drs. Irwansyah, M.A. (……………………..) Sekretaris : Drs. Torang Naiborhu, M.Hum. (..…..………………..) Anggota I : Drs. M. Takari, M.Hum., Ph.D. (….… ………………) Anggota II : Dra. Heristina Dewi, M.Pd . (...……………………) Anggota III : Drs. Setia Dermawan Purba, M.Si. (……………...………) Universitas Sumatera Utara ABSTRACT The development of Western music is very widespread in Indonesia and being so much interest in the study of musical instruments. It makes music school and other institutions to be a place of learning music for a child up to adults. Music school and other educational institutions that stand in Indonesia is more in practicing the music instruments. One of the instruments were studied in music school or other institutions are violin instrument. The process of learning the violin instrument in some music schools or other institutions often use the music curriculum and a method in the form of guide books such as the Suzuki Violin books 1-8, 1-2 Keyser, Majas, Wolhfath 1-2, Kreuzer, ATune A Day 1-2, David's Violin School, Marcel Pinkse, Mathieu Crickboom, William Henley, Hanssit, Douze Petit Duos M, Wohlfahrt, Scale Studies, and other formsvof learning guide books for a violin practice. These guide books are what makes the interaction between teachers and students in teaching-learning process in violin instrument.However, the existing problems, the selection of instructional materials which the violin teacher chosen is not so good for learning this violin instrument, because of the lack of concept of education to the teachers and teaching methods. In addition, to learning the violin guide book, there is also an ABRSM curriculum in which some music schools or institutions of music use this curriculum to the international exams in Indonesia. Through these problems, the authors wanted to examine the application of the A Tune A Day Book, Suzuki Violin, and the school books contained of ABRSM in Chandra Kusuma School Medan in the form of teaching-learning process in practicing violin instrument. Then, the authors examine the teachers when teaching these three books to the students through the technique of playing the violin on the right hand as friction techniques legato, staccato, and detache and on the left hand on the first fingering to the fourth fingering. In the other side, the position and the shape of the fingers and the other problems of fingering. These three guidebooks are became the object of the author's research and the materials to solve the problems in learning the violin instrument. The method used by the authors to practice the violin is the instrument of Western music method and theory as apolied to the students in Chandra Kusuma School Medan. Keywords: learning, violin, technique, problem, curriculum Universitas Sumatera Utara ABSTRAK Perkembangan musik Barat saat ini telah berkembang di Indonesia, terlihat dari banyaknya peminat yang ingin mempelajari praktik instrumen musik. Hal ini menjadikan sekolah, instansi, maupun lembaga musik menjadi sebuah wadah untuk tempat pembelajaran musik, melalui praktik instrumen terhadap seorang berusia anak-anak sampai dewasa. Salah satu instrumen yang dipelajari pada sekolah dan instansi musik adalah biola. Proses mempelajari instrumen biola sebagian sekolah, instansi, atau lembaga musik sering sekali menggunakan kurikulum melalui sebuah metode dalam bentuk buku panduan seperti seperti Suzuki Violin buku 1-8, A Tune A Day 1-2, dan banyak lagi bentuk buku panduan pembelajaran untuk sebuah kepentingan praktik biola. Buku panduan tersebut digunakan untuk sebuah pembelajaran yang menjadikan interaksi antara guru dan murid dalam proses belajar-mengajar pada instrumen biola. Permasalahannya, adalah pemilihan bahan untuk pembelajaran instrumen biola yang dipilih seorang guru melalui buku panduan, memiliki kelebihan dan kekurangan terhadap pembelajaran biola bagi peserta didik. Selain buku panduan dalam pembelajaran biola, terdapat juga sebuah kurikulum ABRSM yang sebagian instansi menggunakannya untuk ujian yang dipelajari sebelum ujian berlangsung. Kurikulum tersebut direvisi selama 3 (tiga) tahun sekali. Dalam hal ini peserta didik dapat mempersiapkan bahan yang akan diujiankan untuk dilatih dan membahasnya dengan seorang guru sebelum ujian berlangsung. Melalui hal tersebut penulis ingin meneliti penerapan buku A Tune A Day, Suzuki Violin, dan buku ABRSM di sekolah Candra Kusuma School dalam proses belajar-mengajar praktik instrumen biola. Kemudian meneliti guru mengajarkan ketiga buku panduan kepada peserta didik, melalui teknik permaianan biola pada tangan kanan seperti tehnik gesekan legato, staccato, dan detache,kemudian tangan kiri pada penjarian 1 (satu) sampai penjarian 4 (empat), posisi jari dan bentuk jari serta permasalahan penjarian lainnya. Ketiga buku panduan yang menjadi bahan penelitian penulis untuk melihat kepentingan dan mengatasi permasalahan-permasalahan serta memberikan sebuah solusi pada pembelajaran instrumen biola. Teori yang di pakai penulis untuk kepentingan praktik instrumen biola adalah teori musik barat, untuk kepentingan proses pembelajaran biola yang diterapkan pada peserta didik pada tingkatan pradasar dan dasar I di Sekolah Candra Kusuma School. Kata kunci: pembelajaran, biola, teknik, permasalahan, kurikulum. Universitas Sumatera Utara KATA PENGANTAR Puji dan syukur penulis panjatkan kepada Tuhan Yesus Kristus atas segala berkat, rahmat dan karunia-Nya yang membimbing dan menyertai penulis dalam penyelesaian studi di Program Studi Magister (S-2) Penciptaan dan Pengkajian Seni, Fakultas Ilmu Budaya, Universitas Sumatera Utara Medan. Tulisan dalam bentuk tesis ini adalah untuk memenuhi salah satu syarat memperoleh gelar Magister Seni (M.Sn.) pada Program Studi Magister (S-2) Penciptaan dan Pengkajian Seni, Fakultas Ilmu Budaya, Universitas Sumatera Utara Medan. Dalam kesempatan ini penulis mengucapkan terima kasih yang sebesar- besarnya kepada kedua orang tua penulis, ayahku Jorgit Sinaga dan ibuku Murniati Br. Turnip nasehatmu ibu senantiasa mengiringi langkahku di manapun aku berada. Segala yang Bapak dan ibu berikan (doa dan nasehat) membawaku mencapai jenjang pendidikan yang lebih tinggi, saya tidak mampu membalasnya dengan apapun. Kepada Ayah angkat saya tercinta, Budhi Ngurah, yang tidak pernah lelah mendukung dan memotivasi saya dengan moril dalam perkuliahan saya hingga saat ini. Hanya tesis ini yang dapat saya persembahkan sebagai tanda terima kasih atas Pengetahuan, ilmu bermusik dan rasa kepedulianmu kepadaku. Tidak lupa kepada ketiga keponakanku yang sangat kucinta dan kusayangi, Sonata Da Chiesa, Hancel Cristian, dan Jarman Sinaga. Atas dorongan dan kelucuanmu membuatku termotivasi dalam penyelesaian tesis ini. Universitas Sumatera Utara Tidak lupa saya berterima kasih kepada abang dan kakak, Jontra Hotmadi Sinaga, Peri Sastra Sinaga, Darma Wandi Lingga (lae), Putri Dewi Sinaga, Uli ( kakak ipar). Atas dorongan, motivasi dan doa kalian mendukung terselesaikannya pembuatan tesis ini. Semoga kalian selalu diberkati Tuhan Yesus Kristus Juru Selamat kita. Secara akademik penulis mengucapkan terima kasih kepada Bapak Prof. Dr. dr. Syahril Pasaribu., DTM & H, M.Sc. (CTM), Sp.A(K)., selaku Rektor Universitas Sumatera Utara, dan Bapak Dr. Syahron Lubis, M.A., sebagai Dekan Fakultas Ilmu Budaya, yang telah memberi fasilitas, sarana dan prasarana belajar bagi penulis sehingga dapat menuntut ilmu di Kampus Universitas Sumatera Utara ini dengan baik. Penulis juga mengucapkan terima kasih sebesar-besarnya kepada Ketua Program Studi Magister (S-2) Penciptaan dan Pengkajian Seni, Fakultas Ilmu Budaya, Universitas Sumatera Utara, Drs. Irwansyah, M.A., dan Sekretaris, Bapak Drs. Torang Naiborhu, M.Hum., atas bimbingan akademis dan arahan yang diberikan. Terima kasih yang sebesar-besarnya juga saya ucapkan kepada bapak Dr. Muhammad Takari, M.Hum selaku Dosen Pembimbing I
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