TEKNIK BERMAIN “CELLO CONCERTO NO. 1 IN C MAYOR BAGIAN PERTAMA” KARYA FRANZ JOSEPH HAYDN”

Djawas, E Dikara Dhiauddin (2015) TEKNIK BERMAIN “CELLO CONCERTO NO. 1 IN C MAYOR BAGIAN PERTAMA” KARYA FRANZ JOSEPH HAYDN”. S1 thesis, Universitas Pendidikan Indonesia.

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Official URL: http://repository.upi.edu/

Abstract

Penelitian dilakukan dengan tujuan untuk mengetahui teknik fingering dan teknik bowing pada karya Franz Joseph Haydn sebagai hal yang menarik untuk diteliti. Untuk mengungkap hal-hal tersebut, proses penelitian dilakukan dengan menggunakan metode deskriptif analitik, yang dimaksudkan untuk memberikan gambaran secara sistematis, faktual, dan akurat mengenai fakta berserta sifat-sifat tertentu yang terdapat dalam objek penelitian. Hasil temuan penelitian teknik fingering Concerto No. 1 In C Mayor Bagian Pertama ialah teknik double stop, triple stop, thumb position, harmonic, trill dan berbagai penggunaan posisi fingering dari posisi 1st hingga posisi 12th. Sebenarnya dalam karya ini permasalahnya terletak pada penggunaan teknik fingering. Dari beberapa teknik fingering tadi, teknik fingering yang sering muncul dan penting peranannya ialah teknik thumb positon. Biasanya, cello dimainkan berada di wilayah bass clef, tetapi dalam karya ini banyak dimainkan di wilayah nada tenor clef dan treble clef. Teknik thumb position muncul dalam dua wilayah ini yaitu berada di wilayah tenor clef dan treble clef . Wilayah tenor clef teknik Thumb position terdapat pada bar 67 dan bar 90 hingga bar 95, sedangkan wilayah treble clef terdapat pada bar 15 hingga bar 22, bar 25 hingga bar 26 dan bar 57 hingga bar 64. Pada teknik bowing, ada beberapa teknik bowing yang terdapat dalam karya ini, diantaranya teknik playing chord, slur, spiccato, staccato, detache, tenuto, crossing the string dan marcatto. Secara keseluruhan, teknik bowing di atas peranannya sangat penting dalam karya ini, terutama hubungannya dengan nafas atau pengkalimatan musik. Ada dua bagian teknik bowing dalam karya ini yang dianggap unik, yaitu pada bar 46 hingga bar 50 dan bar 50 hingga bar 56. Bar 46 hingga bar 50 teknik bowing menggunakan teknik marcatto, detache dan staccato. Sedangkan pada bar 50 hingga bar 56 teknik bowing menggunakan teknik slur dan spiccato. Berdasarkan penelitian yang telah dilakukan, maka peneliti menyarankan agar analisator lebih mengenal dan menguasai terlebih dahulu karya musik yang akan diteliti, untuk mempermudah proses analisis yang akan dilakukan. In examining the composition of that artwork. In examining the composition of that artwork, the study presents analytical descriptive method in study order to provide a systematic,l factual and accurate description of certain characteristic techniques in Haydn’s work. This analysis discloses that the “fingering” techniques in Haydn’s Concerto No. 1 In C Mayor Bagian Pertama include a Double Stop, Triple stop, a particular thumb position, and harmonic, triil technique. The use of these technique in the 1st trough the 12th bar of the first movement is particurlary examined. While this is an ambitious paper, there are a number of problem, especially with regard to fingering tecniques. Much of the fingering techniques discussion actually deals with thumb position technique discussion actually deals with thumb position technique. The cello is usually played in bass clef area, but in this artwork tenor and treble clef are often played. The thumb position technique appears in at least two are as including the tenor and treble clefs. The tenor clef thumb position technique appears in the 67th bar and in the 90th through 95th bar; but the treble clef appears in 15th through 22th bar, the 25th through 26th bar and 57th through the 64th bar. In the bowing technique, among the many other techniques found in this concerto, are playing chords, slurs, spiccato,staccato, detache, tenuto, crossing the strings and marcatto. However, the bowing technique discussed above has a significant role in this concerto, especially for the breath and phrase of the music. Two particular bowing techniques are assumed to be unique, such as the found in the 46th through 50th bars, and 50th through 56th bar. In the 46th through 50th bar, uses the marcatto, detache, and staccato techniques. Mean while in 50th bar through 56th, uses the slurs and spiccato techniques. The paper demonstrates that the artist must know, and indeed memorize, the concerto well, in order to fasilitate the analisis.

Item Type: Skripsi,Tesis,Disertasi (S1)
Additional Information: No. Panggil: S PSM DJA t-2015; Pembimbing: I. Agus Firmansah, II. Yuliandani
Uncontrolled Keywords: Cello Concerto, Franz Joseph Haydn
Subjects: M Music and Books on Music > M Music
Divisions: Fakultas Pendidikan Bahasa dan Seni > Jurusan Pendidikan Seni Musik
Depositing User: Staf Koordinator 3
Date Deposited: 16 Sep 2015 02:44
Last Modified: 16 Sep 2015 02:44
URI: http://repository.upi.edu/id/eprint/16916

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