Lagu Puisi Indonesia Sebagai Praktik Dialog Budaya: Kajian Silang Budaya Terhadap Penciptaan Dan Ekspresi Musikal
Indonesia
DOI:
https://doi.org/10.51622/tkx4pp10Keywords:
Indonesian Poetry Songs; Artistic Research; Music Composition; Cultural Dialogue; Cross-PerspectiveAbstract
This study examines Indonesian Art Songs Based on Poetry (Lagu Puisi Indonesia) as a form of cultural dialogue through the perspectives of cross-cultural studies and artistic research. The study is motivated by the absence of a specific terminology that adequately explains the development of vocal and piano compositions based on Indonesian poetry, which have traditionally been associated with categories such as seriosa, Indonesian classical music, or tembang puitik (poetic songs). Employing a practice-based research approach within the framework of artistic research, the creative process of composition functions simultaneously as both the object and method of inquiry. Data were generated through the analysis of Indonesian poems as compositional sources, documentation of the compositional process, critical artistic reflection, and musicological examination of the relationship between text and music. The findings reveal that the transformation of poetry into song involves hermeneutic interpretation, intersemiotic translation, and musical reconstruction through the manipulation of melody, harmony, rhythm, texture, and form. Furthermore, the creation of Lagu Puisi Indonesia demonstrates an ongoing negotiation among Indonesian literary traditions, Nusantara musical idioms, and Western art song conventions, resulting in a dialogic and hybrid musical expression. The study also shows that the compositional process generates new artistic knowledge concerning the mechanisms of poetry-to-music transformation, strategies of cultural negotiation, and the conceptual formulation of Lagu Puisi Indonesia as a distinct musicological category. Therefore, Lagu Puisi Indonesia may be understood both as a practice of cultural dialogue and as a medium for the production of artistic knowledge within contemporary music composition.
References
Abrams, M. H., & Harpham, G. G. (2015). A glossary of literary terms (11th ed.). Cengage Learning.
Bakhtin, M. M. (1981). The dialogic imagination: Four essays. University of Texas Press.
Batty, C., & Kerrigan, S. (2025). Research, practice, knowledge: Introducing the creative practice research ecosystem. Studies in Australasian Cinema. Advance online publication. https://doi.org/10.1080/25741136.2024.2384686
Bhabha, H. K. (1994). The location of culture. Routledge.
Borgdorff, H. (2012). The conflict of the faculties: Perspectives on artistic research and academia. Leiden University Press.
Boyd, C., & McGarry, L. (2024). Arts-based research and the performative paradigm. Methods in Psychology, 10, 100165. https://doi.org/10.1016/j.metip.2024.100165
Cook, N. (1998). Analysing musical multimedia. Oxford University Press.
Culler, J. (2015). Literary theory: A very short introduction (2nd ed.). Oxford University Press.
Doğantan-Dack, M. (2022). Expanding the scope of music theory: Artistic research in music performance. Zeitschrift der Gesellschaft für Musiktheorie, 19(1), 1–26. https://doi.org/10.31751/1169
Fernando, Y. G., et al. (2024). Bibliometric analysis of 20 years of traditional music studies in Asia based on Scopus database. Resital: Jurnal Seni Pertunjukan, 25(3). https://doi.org/10.24821/resital.v25i3.14983
Gao, X. (2025). Vocal techniques and interpretation in performing Chinese art songs based on Mao Zedong's poetry. Humanities and Social Science Research, 8(3).
Guliyeva, I., & Kopanitsa, L. (2024). Folklore in contemporary music: Revival of cultural traditions. Interdisciplinary Cultural and Humanities Review, 3(2), 24–34. https://doi.org/10.59214/cultural/2.2024.24
Hall, S. (1997). Representation: Cultural representations and signifying practices. Sage Publications.
Kimball, C. (2006). Song: A guide to art song style and literature (Rev. ed.). Hal Leonard Corporation.
Kramer, L. (1984). Music and poetry: The nineteenth century and after. University of California Press.
Manalu, K. R., Simanjuntak, H. L., Simatupang, L. L., Raseuki, N. I., & Ganap, V. (2021). Archipelago musical elements in Ananda Sukarlan's work as part of building Indonesian identity. Journal of Tourism, Hospitality and Environment Management, 6(26), 58–74. https://doi.org/10.35631/JTHEM.626004
Mohammed, S. F. S. (2016). The history and development of lagu seriosa in the context of musical nationalism in Indonesia (Doctoral dissertation). Monash University.
Mohammed, S. F. S. (2021). The importance of lagu seriosa. Conference proceeding.
Nelson, R. (2022). Practice as research in the arts (and beyond): Principles, processes, contexts, achievements (2nd ed.). Springer. https://doi.org/10.1007/978-3-030-90542-2
Nettl, B. (2015). The study of ethnomusicology: Thirty-three discussions (3rd ed.). University of Illinois Press.
Perrine, L. (1974). Sound and sense: An introduction to poetry (4th ed.). Harcourt Brace Jovanovich.
Polanyi, M. (1966). The tacit dimension. Routledge & Kegan Paul.
Riffaterre, M. (1978). Semiotics of poetry. Indiana University Press.
Ross, V. (2022). Practice-based methodological design for performance-composition and interdisciplinary music research. Malaysian Journal of Music, 11, 1–18.
Sapardi Djoko Damono. (2017). Hujan bulan Juni (Edisi revisi). Gramedia Pustaka Utama.
Schippers, H. (2010). Facing the music: Shaping music education from a global perspective. Oxford University Press.
Schön, D. A. (1983). The reflective practitioner: How professionals think in action. Basic Books.
Skains, R. L. (2018). Creative practice as research: Discourse on methodology. Studies in Theatre and Performance, 38(1), 82–97. https://doi.org/10.1080/14682753.2017.1362175
Stein, D., & Spillman, R. (2010). Poetry into song: Performance and analysis of Lieder. Oxford University Press.
Stige, B. (2017). Culture-centered music therapy. Barcelona Publishers.
Swijghuisen Reigersberg, M., & Campbell, P. S. (2022). Valuing and evaluating musical practice as research in ethnomusicology. Ethnomusicology Forum, 31(1), 5–24. https://doi.org/10.1080/17411912.2022.2059772
Taruskin, R. (2010). The Oxford history of Western music. Oxford University Press.
Telles, A. (2022). Artistic research and practice-based methodologies in music performance studies: A personal reflection. In E. Rosa et al. (Eds.), Artistic Research and Music Performance Studies. CESEM.
Wang, X., Ying, X., Shilin, L., Xiubo, R., Dan, Y., Xinran, Y., Junrui, L., Jinjing, D., & Qiujian, X. (2024). Phonetics as a means of nationalising art songs: A comparative music-phonetics study based on Zhao Yuanren's New Poetry Collection. Journal of New Music Research, 53(1). https://doi.org/10.1080/09298215.2024.2311649
Downloads
Published
Issue
Section
License
Copyright (c) 2026 Kartini R. M Manalu

This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.












