SELONDING
Not a member yet
140 research outputs found
Sort by
Keruncong Stambul Fajar Dalam Acara Selamat Laut Di Pulau Mendanau Kabupaten Belitung
Get PDFMendanau Island is one of the islands located in Belitung archipelago. People in Mendanau island mostly work as fishermen. The fishermen community in Mendanau island, precisely in the village of Suak Gual, held a ceremony once a year called Selamat Laut. This ceremony was held in several days by performing traditional art performance, one of them is Keruncong Stambul Fajar(KSF) music. KSF music consists of several instruments namely three ukulele, one viul / violin, one acoustic guitar, and a bass guitar. KSF music is played at the completion of the Selamat Laut ceremony during a shared meal called Bedulang. This study aims to reveal the form of presentation, function and reason of KSF music taking part in the ceremony. The ethnomusicological approach is used as the main approach in this study, with the help of other sciences such as anthropology, sociology and linguistics. The research was conducted by field observation and literature review.The Selamat Laut ceremony is a form of expression of the request for salvation and a request to be kept away from the bad things that may happen while sailing, which in the implementation is led by a village shaman followed by all fishing communities in the village of Suak Gual. KSF music itself was involved in the ceremony as the performers after the Selamat Laut ceremony to accompany the people enjoying the meal, that presented as musical and pantun performances using traditional clothes on the stage. The KSF Group of Pengekar Campo presenting two songs called KSF Semol and KSF Dua Mol, with a musical form of 20 bars for KSF Semol and 18 bars for KSF Dua Mol. Music KSF has two functions i.e. primary and secondary function. The primary functions included the function as a means of entertainment, and as an aesthetic presentation. Secondary functions included the function as solidarity enchancher and as a communication medium. Through the function of the KSF music make it as music that always involved in various events, that KSF music can be said as the identity of the Mendanau island community. Keywords: Selamat Laut Ceremony, Musical Performance, Keruncong Stambul Fajar
Nilai Organologi Akustik Polopalo
Get PDFValues are meanings, messages either implicitly-exemplified in the form of ideas or theories that work in community activities, one of the material objects that describe the phenomenon is a traditional musical instrument. Speaking of traditional musical instruments, there is one that is valuable, namely Polopalo. Polopalo is a percussion instrument, a Gorontalo icon with a unique organology that is similar to a crocodile's mouth and produces a distinctive acoustic sound character. The unique and interesting aspect of Polopalo's acoustic organology makes its value function continue to experience development and transformation in the activities of society and the world of science.Nattiez about the meaning process at three levels: decomposition of acoustic components, historical or cultural background and physio-acoustic response and supported by the Alperson-Bordieu theory so that the research method uses quantitative-qualitative.The results showed that the value of Polopalo's acoustic organology is the embodiment of the character and philosophy of the Gorontalo people in everyday life where the existence of the sign is represented by the unique sound frequency and interva
TEMBANG (LAGU) DOLANAN ANAK SEBAGAI INSPIRASI PENCIPTAAN TARIAN ANAK
Get PDFTembang Dolanan Anak is a creation (fruit of thought) or the composition of the language with the rules of the standard (gumathok) which way of reading it must be dilagukan by using the beauty of sound owned. Tembang (sekar) Java is divided into two categories, namely classic and folk type. The classical tembang is a tembang whose source is from the Javanese royal court from the time of Kediri to Mataram Islam (Yogyakarta and Surakarta), therefore the rules are very strict. The song that developed in the people's circle (in the Hindu era belongs to the caste of waisya and sudra) the mention is "song, lagon, or lelagon" there is no binding rule (free) only certain songs. Types of Dolanan Tembang Anak many developed in society that tell about behavior pattern and character owned by children. Therefore Tembang Dolanan Anak has a noble value education on the meaning contained in it. It inspires children's dance making. The method used in applying in the form of child dance that is with the approach of phenomenology with emphasis on the strength of creative ideas creation by Edmund Huserr. Phenomenology in his view does not make the object a fact but rather abstracts the objects.The results obtained by looking at the source of inspiration from Tembang Dolanan Anak make the child dance more meaningful in the forms of movement that was created. The choreography created can be tailored to the child's character and behavioral patterns
Fungsi Musik Dayak Kanayatn
Get PDFKanayatn Dayak music in the anthro-social aspect experienced a multiplication of functions caused by sublimation of local musical genius intra-extras and the human needs of the community, where until now the description of ethnic music, especially Dayak Kanayatn is still not widely explained in the cultural context, so this research focuses on describing functions of Dayak kanayatn music in community activities.Qualitative narrative is an effort to describe the process or function of Dayak Kanayatn music so that it can provide interpretation in accordance with facts in the community, where data collection is through literature study, observation and documentation while data analysis uses domain interpretation techniques.The results showed that Dayak Kanayatn music had several functions including; entertainment facilities, commodification of tourism, ratification of social institutions, integration of social groups, propaganda media, local cultural identity, informal education facilities
Keberadaan Grup Karawitan Cikal Laras di Kabupaten Karanganyar Jawa Tengah
Get PDFGroup Cikal Laras domiciled in the Karangpandan district of Karanganyar district is a group of music that is active in developing a kind of music especially musical. Pangrawit is composed of the children SMP, SMA, SMU/K and Students. Activity undertaken by the group is to fill the stage held by the community and agencies. Wrong one of the music that is processed by the group Cikal Laras Gendhing Cakra that combines several forms of musical gendhing such as lancaran, ladrang, sampak, monggang and gangsaran. Presentation is performed in an instrumental manner that is played by young people so it looks harmonious. Cikal Laras group by using qualitative methods. This is done to see a phenomenon that exists about a group of music with players who are mostly young people in processing a cultivation. Meaning implied in this study is more directed to the existence of the group so it is still in demand by people in Karanganyar regency of Central Java. Existence of Cikal Laras group is still needed by the community in Karanganyar regency in enjoying or appreciating a form of musical dish especially karawitan. Creativity generated by this group makes the continuity of the show is increasing so that it can support the continuity of the group
TAMBUR PEH-CUN SEBAGAI IRINGAN LOMBA PERAHU NAGA DALAM UPACARA PEH-CUN DI TANGERANG BANTEN
Get PDFThe Chinese Benteng community which inhabits the Tangerang Banten area is a community that has customs as practiced by its ancestors from China. The tradition he lived is the Peh-Cun ceremony. The party was carried out from ritual processions to entertainment in the form of dragon boat racing competitions. This is an attraction in conducting a study of the object. The research uses qualitative methods. Direct observations are made to understand some of the phenomena that exist during the ceremony by taking data in the field and interviews. The results of this study consisted of two aspects, first, the manifestation of the obedience and loyalty of the Chinese Benteng community towards Tian (God) and Khut Guan (the legendary figure in the Peh-Cun ceremony). The second result, the Peh-Cun celebration besides providing entertainment to the community, there was also an encouragement that encouraged the people of Chinese Benteng. It was seen when the dragon boat racing competition accompanied by drummers and shouts could be responded by the contest participants. If the musical phenomenon is drawn into a broader realm, the dragon boat race can motivate the Chinese Benteng ethnic community to remain strong and firm in their lives, namely the realization of balance, as found in the Yin-Yang concept that they believe in
Pencug
Get PDFThe time until now the existence of tepak pencug has not found a place in the hearts of the composers or other creators to make it as the source of creation in realizing a work of art (music). Though tepak pencug often used as a creativity event of a rider in accompanying dance jaipong for improvisation rythm. That way, it is clear that many patterns or motifs of Sundanese drums are born by improvisations. That is the good idea for creation to be developed into a work of music. Based on the symptoms of that’s the meaning, the idea that becomes an offer in the work of pencug music is to cultivate or explore the motives that exist in kendang sunda (especially tepak pencug) into a work of art object (music).The purpose of the creation of the compositions of musical works is to develop patterns, rhythms and motifs in the form of music composition. While the benefit is to contribute thoughts about the process of creation through the development of patterns, rhythms and motifs in the drum kendang Sunda to other creators. The realization of the work of this musical composition can’t be separated from various sources that provide inspiration and guidance or reference. This work uses two types of sources as a reference, namely the source of art work and some sources of books (literature of review). The work of the composition of pencug music refers to the concept of working on Suwanda as the owner and creator of tepak kendang jaipongan. These methods include; Salambar directly saayana tinu heubeul (what it is from the first), janten ku nyira (so by itself or improvisation) and ngarobah nu aya (change existing). The form of musical composition of pencug composition refers to the concept of musical form of vocal-instrumental mix (sekar gending). The structure of the composition of the music composition consists of three parts, among which part bubuka, stuffing and ending. Keywords: Tepak Pencug, Development, Sekar Gending
SERUNE KALEE DALAM UPACARA INTAT LINTO BARO DI BANDA ACEH
Get PDFSeurune kalee is an inflatable instrument that is still owned by the people of Aceh. The existence of seurune kalee untill now is used in the implementation of the intat linto baro ceremony, opening ceremonial event, welcoming guest, and celebrating Islamic holidays. The implementation of intat linto baro uses seurune kalee as part of this implementation, so that the music played has function in the Acehnese comunity. Performing arts are divided into two groups, namely primary function groups and secondary groups. The main approach of this study is ethnomusicology aided by anthropology, sociology, and history. The metology used in this study is qualitative method. The implementation of intat linto baro uses accompanistment as a sign that a group of families and indigenous people from the linto baro party are connnecting with friendship and ratification of young man and young women in carrying out religious and customary family relation. The songs used are Peumulia Jamee and Ranup Lampuan. This implementation is a sacred ceremonial moment for the Aceehnese particular. Music function during the implementation of intat linto baroe is a means of traditional ceremonies, entertaiment facilities, and means of aesthetic presentation. The implementation of intat linto baro is a simbolic implementation in a society that is religiously and customarily held by a person who initiate and the songs played are known by Acehnese comunit
Muallaf
Get PDFMuallaf composition is a representation of a process of transfer of beliefs from a Muchlis biography. Muallaf means the person who has established himself to embrace the teachings of Islam, it is experienced by Muchlis who previously had the confidence of Confucius, until influenced by the habits of Muslims until in the end he pledged to Islamic teachings. The presentation of Muallaf composition is a mixture of ethnic, western and vocal instruments. It also adopted some patterns or motifs of the beats from several traditions such as Banyuwangi, Karawitan Java, and Betawi which later developed with techniques to work on music. The existing form of presentation based on phenomena that have been studied based on history or travel Muchlis, in general there are two parts in this work is the atmosphere when there is in Confucian Confidence, until the transition to embrace Islam. The music presented in this composition tends to see and take on an atmosphere that follows the plot of the Muchlis journey, in the Confucian section of the atmosphere that will present Chinese music, and then split again into sections to form variations, dynamics and musical expressions which is different, will then enter the Islamic section as the door of Muchlis embraced Islam, the music presented will be more inclined to the musical music of Islamic nuances with media such as bedug, gambus, tambourine and flute that plays melodis with Minor Zigana scales.Keywords: Muallaf, Transitional, Kong Hu Cu, Islam
Nglebur Laras
Get PDFThe concept of nglebur laras this time is interpreted as the concept of melting the barrel in all situations and conditions in the Karawitan art activity area. The concept can be interpreted as a draw concept, it will not draw if you forget the barrel between them (between the barrel of the pelog and between the barrel of the slendro). Everything always passes between them. Between the barrel of the pelog and the barrel of slendro, half pelog and half slendro it is the behavior of the barrel event which cannot be guessed its existence in the strains of Karawitan's gendhing. Whatever form of sound character is displayed by the barrel of pelog, slendro, and between the two, the fact is that the phenomenon of mixed barrel beating is still called the class of the barrel (of course), and on the concept of karawitan (in particular). The spread of this mixed barrel work is indeed very rapid, especially in the Java area. Pengrawit social society that often makes works by processing mixed tunings is now very spoiled, the habit of looking for the attention of the general public, making the general public become excited by the existence of mixed barrel work, considered uniqueness that is not boring. On the contrary, if the general public understands the condition and essence of the barrel work in general, it will be a suspicion that might be considered damaging the standard and so on.The actualization sought was to create an archipelago music art work with a gender instrument by mixing the duality of the barrel, namely pelog and slendro in one instrument. This Nglebur Laras has multiple interpretations. Nglebur is a term used by gamelan makers / craftsmen, which means the activity of mixing raw materials (iron, tin, copper) into liquid. Nglebur can be interpreted as melting mix or which can also be called mbesot. Nglebur is the main ingredient in making gamelan because iron, tin and copper which are still hard must be cooked first to the point of melting. Then the barrel is the essence that plays an important role in the world of Karawitan. Laras has two special concepts called pelog and slendro. These two different concepts certainly have different characters. Laras is one of the important pieces of furniture. Laras consists of two groups, namely, pelog barrel and slendro barrel. Both types of barrel are one of the two main elements that characterize music. Laras in the world of karawitan has three plural meanings, namely, first; something that is (comfortable) or delicious to be heard or lived, second; namely the sound that has been determined the number of frequencies (penunggul, gulu, dhadha, pelog, lima, nem and item). The third meaning is the scale or scale, which is the arrangement of the notes in the number of sequences and the interval patterns of the tones have been determined. The taste is related to tastes like the expression Rahayu Supanggah in his book Bothekan Karawitan I that 'the barrel is very close to taste, taste can be formed by culture, including local traditions and habits'. The two words that are deliberately combined through all the 'combinations' that the author means are infallibility or an interesting possibility of all possibilities that might occur. It can also be understood that the title of the Nglebur Laras is a synergy or a fusion of all the anxieties in human social culture and social culture of Javanese music (especially the Javanese Gamelan).Keywords: Nglebur, barrel, and unity