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Aesthetic Receptivity in Cirebon Mask Music: Analyzing the Correlation Between Rhythm and Motion

Jurnal Seni Musik · Vol. 14 No. 2 (2025) · hlm. 97–107

DOI
10.15294/jsm.v14i2.40261
ISSN
2503-2860, 2301-4091
Terbit
2025-12-31
Penerbit
Universitas Negeri Semarang
Bahasa
eng

Abstrak

This phenomenological study investigates the receptive aesthetics in the accompaniment music of Cirebon Mask Dance (Tari Topeng Cirebon), focusing on the perceptual dynamics of rhythmic beauty and percussive patterns and their intricate correlation with dance movements. Employing Interpretative Phenomenological Analysis (IPA) within a qualitative framework, this research explores how mask dancers and musicians interpret and respond to specific percussive patterns fundamental pulse, accented strike, and melodic-rhythmic ornamentation as complex aesthetic stimuli that fundamentally shape movement quality and character embodiment. The findings reveal a sophisticated audio-kinesthetic aesthetic system where beauty emerges from precise intersubjective synchronization between sonic impulses and kinetic energy release, mediated by culturally encoded bodily awareness and affective resonance. This study addresses a critical gap in existing literature by privileging insider (emic) perspectives often marginalized in structural and symbolic analyses. The research contributes to performance theory by proposing an integrated "audio kinesthetic receptive framework" and offers practical implications for culturally responsive pedagogy in traditional arts education, emphasizing the necessity of integrative dance and karawitan curricula to preserve the receptive sensitivity that constitutes the performative essence of this intangible cultural heritage

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Sumber metadata: OAI-PMH (metadata jurnal) https://journal.unnes.ac.id/journals/jsm/oai, pertama di-harvest 6 Nov 2026, terakhir terlihat 8 Nov 2026.
Metadata asli (oai_dc) 
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	<dc:title xml:lang="en">Aesthetic Receptivity in Cirebon Mask Music: Analyzing the Correlation Between Rhythm and Motion</dc:title>
	<dc:creator xml:lang="en">Irniatie Wanda</dc:creator>
	<dc:creator xml:lang="en">Sunarmi</dc:creator>
	<dc:creator xml:lang="en">Sarwanto</dc:creator>
	<dc:subject xml:lang="en">Cirebon Mask Dance</dc:subject>
	<dc:subject xml:lang="en">Receptive Aesthetics</dc:subject>
	<dc:subject xml:lang="en">Phenomenological Analysis</dc:subject>
	<dc:subject xml:lang="en">Audio Kinesthetic</dc:subject>
	<dc:subject xml:lang="en"> Percussive Patterns</dc:subject>
	<dc:description xml:lang="en">This phenomenological study investigates the receptive aesthetics in the accompaniment music of Cirebon Mask Dance (Tari Topeng Cirebon), focusing on the perceptual dynamics of rhythmic beauty and percussive patterns and their intricate correlation with dance movements. Employing Interpretative Phenomenological Analysis (IPA) within a qualitative framework, this research explores how mask dancers and musicians interpret and respond to specific percussive patterns fundamental pulse, accented strike, and melodic-rhythmic ornamentation as complex aesthetic stimuli that fundamentally shape movement quality and character embodiment. The findings reveal a sophisticated audio-kinesthetic aesthetic system where beauty emerges from precise intersubjective synchronization between sonic impulses and kinetic energy release, mediated by culturally encoded bodily awareness and affective resonance. This study addresses a critical gap in existing literature by privileging insider (emic) perspectives often marginalized in structural and symbolic analyses. The research contributes to performance theory by proposing an integrated "audio kinesthetic receptive framework" and offers practical implications for culturally responsive pedagogy in traditional arts education, emphasizing the necessity of integrative dance and karawitan curricula to preserve the receptive sensitivity that constitutes the performative essence of this intangible cultural heritage</dc:description>
	<dc:publisher xml:lang="en">Universitas Negeri Semarang</dc:publisher>
	<dc:date>2025-12-31</dc:date>
	<dc:type>info:eu-repo/semantics/article</dc:type>
	<dc:type>info:eu-repo/semantics/publishedVersion</dc:type>
	<dc:type xml:lang="en">Peer-reviewed Article</dc:type>
	<dc:format>application/pdf</dc:format>
	<dc:identifier>https://journal.unnes.ac.id/journals/jsm/article/view/40261</dc:identifier>
	<dc:identifier>10.15294/jsm.v14i2.40261</dc:identifier>
	<dc:source xml:lang="en">Jurnal Seni Musik; Vol. 14 No. 2 (2025): December 2025; 97-107</dc:source>
	<dc:source>2503-2860</dc:source>
	<dc:source>2301-4091</dc:source>
	<dc:source>10.15294/jsm.v14i2</dc:source>
	<dc:language>eng</dc:language>
	<dc:relation>https://journal.unnes.ac.id/journals/jsm/article/view/40261/8493</dc:relation>
	<dc:rights xml:lang="en">Copyright (c) 2026 Jurnal Seni Musik</dc:rights>
</oai_dc:dc>