MUARA NADA: Jurnal Pendidikan Seni (e-ISSN: 3163-4818) is a scholarly journal that publishes articles based on literature reviews and scientific research in the field of the arts, including (1) traditional music and conventional Western music, (2) traditional, contemporary, and modern dance, (3) theater, (4) choral music, (5) vocal groups, and (6) homogeneous and mixed music ensembles. Publications in the MUARA NADA journal are not limited to art faculty members but also include research by music education students at Unwira. Furthermore, MUARA NADA is open to collaboration wit academic papers from other universities in Indonesia in the field of the arts, with the aim of enriching the journal’s collection of local cultural wisdom and artistic knowledge. MUARA NADA is published twice a year, in April and October. Articles may be submitted in two languages, Indonesian and English.
Program Studi Pendidikan Musik Universitas Katolik Widya Mandira Kupang
Bentuk Penyajian Alat Musik Feko Genda Bagi Masyarakat Desa Ndungga
This research examines the form of presentation of the traditional feko genda musical instrument in Ndungga Village, East Ende District, Ende Regency. This musical instrument is a cultural heritage consisting of feko (bamboo flute) and genda (drum). This research uses a qualitative approach with ethnographic methods. Data collection techniques include observation, interviews and documentation. The results of the research show that the8 presentation of Feko Genda's music is in the form of an ensemble with a semicircle formation, played by six people in an open space at various traditional, entertainment and religious events. This form of presentation shows the existence of strong local cultural continuity. Feko genda's music is not just an artistic expression, but also an identity and means of cultural communication for the Ndungga people. The unique presentation that is still sustainable today shows the community's collective commitment to maintaining their ancestral cultural heritage, as well as the importance of regeneration to ensure the sustainability of this art in the future.
Keywords: Traditional Musik, Form Of Presentation
Copyright (c) 2026 Angela Dewinsa Lawa https://creativecommons.org/licenses/by-nc-sa/4.0
Tabulasi Sebagai Media Pembelajaran Untuk Pengembangan Mahasiswa Dalam Permainan Gitar Teknik Klasik
This study is based on the challenges faced by beginner students in learning classical guitar, which commonly relies on standard notation. Such notation is often difficult to understand, thus hindering the learning process. To address this issue, tablature was chosen as an alternative learning medium that is more practical and easier to grasp. The research problem focuses on the process and outcomes of classical guitar learning using tablature with the piece Romance de Amor for second-semester students of the Music Education Program at UNWIRA. This research employed a qualitative approach with a field action method, involving five students who were willing to participate in intensive learning sessions. Data were collected through observation, in-depth interviews, and documentation. The learning process included the introduction of tablature, basic technique exercises, mastery of the musical piece, and final evaluation. The results showed that tablature significantly helped students understand and practice classical guitar techniques without the burden of complex music theory. There was notable improvement in playing technique, rhythm accuracy, tempo, musical interpretation, and students’ confidence. In conclusion, tablature is an effective learning medium for teaching classical guitar to beginners and can serve as a reference for music educators in developing more adaptive and innovative instrumental teaching methods in academic settings.
Tablature, Classical Guitar, Learning Media, Students, Romance de Amor
Copyright (c) 2026 Castulus Ifical Lewokeda, Agustinus R. A. Elu, Yohanis Devriezen Amasanan https://creativecommons.org/licenses/by-nc-sa/4.0
Penyajian Dan Fungsi Alat Musik Nggo Damba Dalam Tarian Sara Fai Di kampung Nuan Muri Kecamatan Keo Tengah Kabupaten Nagekeo
Nggo Damba is a traditional percussion instrument originating from Keo Tengah Subdistrict and commonly used in cultural ceremonies, including the Peo-making ceremony and as accompaniment to the Sara Fai dance in welcoming guests. However, studies on Nggo Damba remain limited due to the lack of public knowledge regarding its presentation and playing techniques. This study aims to examine: (1) the form of presentation of the Nggo Damba musical instrument in the Sara Fai dance and (2) its functions in the cultural life of the community. This research employed a qualitative approach with an ethnographic method. Data were collected through observation, interviews, and documentation and analyzed descriptively. The findings show that the presentation of Nggo Damba in the Sara Fai dance consists of three stages: the opening stage, marked by a procession carrying the statue of the Virgin Mary accompanied by Nggo Damba; the main stage, which involves the traditional welcoming ceremony with customary greetings (Bheasa); and the closing stage, in which guests are welcomed through the Sara Fai dance accompanied by Nggo Damba music. In addition, Nggo Damba serves several important functions in the community, namely as a means of communication, a medium in traditional ceremonies, an accompaniment for welcoming guests, a supporting element in wedding ceremonies, and a form of entertainment. These findings indicate that Nggo Damba holds both artistic and sociocultural significance in the traditions of Keo Tengah Subdistrict.
Presentation, Nggo Damba, Sara Fai Dance, Nuamuri Community
Copyright (c) 2026 Katharina Kojaing, Mariana Mau https://creativecommons.org/licenses/by-nc-sa/4.0
Bentuk Penyajian Tari Tradisional Tau Nuhu Pada Sanggar Bliran Sina Watublapi Kecamatan Hewokloang Kabupaten Sikka
The Tau Nuhu dance, also known as the war dance, is a traditional dance representing the glory and bravery of the Krowe knights, an ethnic group in the Sikka region. It has been passed down from generation to generation as a cultural heritage and as a ritual medium for honoring ancestors and praying for safety in daily life. This study examines how the Tau Nuhu dance is performed at the Bliran Sina Watublapi Studio in Hewokloang Subdistrict, Sikka Regency. The study aims to analyze and describe the performance of the dance in its cultural setting. This research used a qualitative approach with an ethnographic method. Data were collected through observation, interviews, and documentation, then analyzed descriptively. The findings show that the Tau Nuhu dance is accompanied by fading gong music and bamboo percussion. These instruments are played rhythmically in patterns of slow and fast beats, requiring the dancers to respond with agility and precision. The uniqueness of the dance lies in its movements, the dynamic rhythm of the music, and the variation of bamboo percussion that enhances the performance. The dance consists of several sections: Awi Alu, Mage Mot, Gere Alu, Tua Reta Lo’u, and the closing section, Lori Lolo. Female dancers wear utang, labu, and kalar, while male dancers wear lipa and kalar. In conclusion, the Tau Nuhu dance has deep cultural significance for the Watublapi community as an ancestral heritage that continues to be preserved.
Tau Nuhu dance; performance form; traditional dance; Bliran Sina Watublapi Studio; Sikka Regency
Copyright (c) 2026 Theodora Dua Bura https://creativecommons.org/licenses/by-nc-sa/4.0
Bentuk Penyajian Nyanyian Medo Dalam Upacara Pembuatan Peo Pada Masyarakat Di Desa Udiworowatu Kecamatan Keo Tenah Kabupaten Nagekeo
Medo singing is one of the cultural heritages and traditional musical arts of the Udiworowatu Village community, Keo Tengah District, Nagekeo Regency, which plays an important role in the traditional peo-making ceremony. This song is an integral part of the Peo planting procession, functioning as a collective medium of expression to convey gratitude, respect for ancestors, and hopes for the safety and welfare of the community. In practice, Medo is not only sung as a form of ritual but also becomes an educational and spiritual medium that strengthens the cultural identity of the Keo community. In addition to being used in the context of making Peo, this song is also present in various other traditional moments, such as the construction of traditional houses and welcoming guests of honor, making it an important element in the social and religious life of the local community.
Bentuk penyajian, Nyanyian Medo, Upacara Peo
Copyright (c) 2026 Maria Reneldi Guyu Tiku https://creativecommons.org/licenses/by-nc-sa/4.0