Penerapan Mode Aeolian pada Lagu “Ole O Ina Nona” dalam Permainan Ansambel Gitar oleh Mahasiswa Minat Gitar Prodi Pendidikan Musik Unwira Kupang

RIDSON, Felixius Safri (2026) Penerapan Mode Aeolian pada Lagu “Ole O Ina Nona” dalam Permainan Ansambel Gitar oleh Mahasiswa Minat Gitar Prodi Pendidikan Musik Unwira Kupang. Undergraduate thesis, Universitas Katolik Widya Mandira Kupang.

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Abstract

The Aeolian mode is one of the seven modes that has a minor character with a soft and expressive nuance, and is often used in emotional musical works. Fourth-semester guitar students have studied the theory of the seven modes in music theory courses, but in its application to music playing, students still do not understand it well. Therefore, researchers use ensemble learning as a means to apply the Aeolian mode directly in music playing. The song "Ole O Ina Nona" which was originally in the Ionian mode was then changed to the Aeolian mode (C minor) as practice material. Based on this, this study raises two problems, namely: (1) how is the process of applying the Aeolian mode in guitar ensemble playing in the song "Ole O Ina Nona", and (2) what are the difficulties faced by guitar students and how are the solutions applied in learning the Aeolian mode. The objectives of this study are: (1) to describe the process of applying the Aeolian mode in guitar ensemble playing through imitation and drill methods, and (2) to find out the difficulties of guitar students and the solutions used in the learning process. This study uses a descriptive qualitative approach with four fourth-semester guitar students as subjects. The learning process was conducted in ten meetings consisting of the initial stage, the core stage, and the final stage. Data collection was conducted through observation, interviews, documentation, and audio-visual recordings. The results of the study showed that: (1) the application of the Aeolian mode was carried out through an introduction to mode theory, song structure analysis, etude practice, Aeolian chord progression practice, and song section practice from intro to coda using imitation and drill methods. In the final stage, instrument unification, dress rehearsal, evaluation, and recording were carried out. (2) Students' difficulties included chord changes, finger positions, tempo, dynamics, and coordination in ensemble playing. Solutions were provided through gradual practice, strengthening techniques through drills, direct examples through imitation, repetition of difficult sections, complete ensemble practice, and evaluation. Through this process, students experienced improvements in their understanding of the Aeolian mode, basic guitar techniques, tempo stability, dynamics, collaboration in the ensemble, and self-confidence. It can be concluded that the imitation and drill methods have proven effective in applying the Aeolian mode in guitar ensemble playing.

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