INTERPRETASI MELALUI TEKNIK PERMAINAN CELLO LUKA ŠULIĆ PADA COURANTE FROM SUITE NO.1 KARYA J.S.BACH

INTERPRETATION APPROACH THROUGH LUKA ŠULIĆ'S CELLO PLAYING TECHNIQUES OF COURANTE FROM SUITE NO. 1 BY J.S. BACH

Penelitian ini bertujuan untuk menuliskan kajian interpretasi jaman Barok pada lagu Courante from Suite No.1 for Violloncello karya J.S.Bach oleh Luka Šulić. Objek penelitian difokuskan pada interpretasi dari lagu tersebut melalui pendekatan teknik permainan cello Luka Šulić dengan menerapkan beberapa teori di antaranya aturan-aturan interpretasi musik oleh Jean Claude Veilhan. Interpretasi lagu tersebut dianalisis melalui aturan-aturan interpretasi musik jaman Barok yang terdiri dari sukat, tempo, teknik permainan dan ornamen. Metode yang digunakan dalam penelitian ini adalah metode penelitian kualitatif. Teknik pengumpulan data yang digunakan yaitu observasi, wawancara dan dokumentasi. Berdasarkan hasil penelitian ini, dapat disimpulkan bahwa interpretasi Luka Šulić dalam memainkan lagu tersebut dengan memperhatikan sukat, tempo, frasering yang meliputi articulatory silences, detached notes, slur dan unequal notes, teknik permainan antara lain double stop dan left hand pizzicato, ornamen yang meliputi acciaccatura dan trill.

This study aims to write a study of the interpretation of the Baroque era on the song Courante from Suite No.1 for Violloncello by J.S.Bach by Luka Šulić. The object of research is focused on the interpretation of the song through the approach of Luka Šulić's cello playing technique by applying several theories among them the rules of musical interpretation by Jean Claude Veilhan. The interpretation of the song is analyzed through the rules of interpretation of Baroque-era music consisting of sukat, tempo, playing techniques and ornaments. The method used in this study is a qualitative research method. The data collection techniques used are observation, interview and documentation. Based on the results of this study, it can be concluded that Luka Šulić's interpretation in playing the song by paying attention to sukat, tempo, frasering which includes articulatory silences, detached notes, slur and unequal notes, game techniques include double stop and left hand pizzicato, ornaments that include acciaccatura and trill.