1,721,006 research outputs found
IoT, Seni Digital dan Masa Depan Seni ‘Tradisional’
Full text linkRevolusi IoT bermula dengan diketemukannya perangkat-perangkat lunak seperti teknologi sensor, fiber optic, sesuatu yang cerdas (smart things), nanoteknologi dan miniaturisasi. Sedangkan konsep yang melatarbelakangi revolusi di bidang IoT (sering disebut Revolusi 4.0) adalah karena dipengaruhi oleh perkembangan yang cepat dan dahsyat di bidang komputerisasi serta jaringan (network) yang tak nampak tapi ada di mana-mana (ubiquity) dan perkembangan generasi masa depan Internet.
Bila semua itu kita hubungkan dengan emosi kita, apakah implikasinya? Pertama, tidak pernah seperti sebelumnya bahwa emosi kita sangat terikat dengan perangkat gadget dan keharusan ketersediaan jaringan baik berupa kuota mau pun wifi. Kita semua mungkin pernah mengalami berbagai pengalaman emosional terhadap komputer, tablet atau HP kita masing-masing. Berarti emosi kita sudah masuk ke dalam dunia matrik. Kalau kita bermain game 3D misalnya, kadang kita merasa seperti eksis di dunia itu. Berarti emosi kita sudah masuk ke dalam dunia virtual
Early Acceptance Of Western Music In Indonesia And Japan
Full text linkSURAT PENCATATAN
CIPTAAN
Dalam rangka pelindungan ciptaan di bidang ilmu pengetahuan, seni dan sastra berdasarkan Undang-Undang Nomor 28 Tahun
2014 tentang Hak Cipta, dengan ini menerangkan:
Nomor dan tanggal permohonan : EC00202128551, 18 Juni 202
Cross Culture and Gamelan Studies in Japan
Full text linkCultural phenomenon of the gamelan dissemination to the world outside Java, Indonesia, seems like the early Western music dissemination to the outside Western culture. Perhaps it brought some wonders, excitements, and the needs to imitate that followed by the creative process for making the something new, something that might be suitable for their own musical language or expression.
Historically speaking, the early Western music dissemination and cultivation in Indonesia was happened in the 16th century (1512) that was brought mostly by the Portuguese missionaries and merchants.1 In 1535, most of the children in the collegio of Teranate islands (established by Antonio Galvao) already sung the Gregorian songs in Latin or Portuguese languages. And the local people had also been introduced to the guitar and the violin that in the future had become the importance musical instruments of their folk songs. These can be found until recently to the whole Maluku islands and the areas of Flores. Meanwhile, the Portuguese missionaries came to Japan in 1543 and the dissemination and cultivation of Western music and Catholicism developed more profoundly that the area of Hirado had been called as ‘a little Rome’. The local people not only imitated how to play the organ but also had produced the instrument at later on. The remains of the Gregorian songs can still be found in what so-called ‘Uta-Orashio’
The Traditional Kethoprak Theater of Java: New Challenges and Transformation
Full text linkThe history of traditional kethoprak theater of Java dates back in early 19th century when predominantly Javanese farmers playfully make some rhythmic music on a wooden-canoe-in shaped used to manually crush the rice paddy. By the time being they incorporated their percussion playing with some story telling mostly based on local myths and legendary stories. This became the first traditional kethoprak known as kethoprak lesung. Lesung itself is a wooden-canoe-in shaped used to crush the rice paddy with a mortar during the good harvest season. Using the large mortars a group of women, normally comprises of four or five women, crush the rice paddy over and over until it becomes the white rice ready to be cooked.
The needs of expressing the story telling to be more dramatic have motivated them to make it to become a performance art. Moreover they incorporated it with some gamelan musical instruments, costumes and acting and thus it became the second development of traditional kethoprak and was called as kethoprak campuran (mixed kethoprak). This traditional theater was so much popular during the years of 1925 – 1927. The comedy part was the most awaited by the audience, despite the whole story that now has been incorporated with the historical events of Javanese kingdoms and thus the needs of actors and actresses to perform the roles has become importance considerations ever since.
The history of the traditional kethoprak kept on flourishing and the most of it development was that it already using a complete set of gamelan orchestra, and thus it called as kethoprak gamelan (gamelan kethoprak), and the stage has become more attractive with the use of light and sound system, back ground effects and the art of performance has also been modernized as well. Hundreds of professional kethoprak groups can be found anywhere in most cities in Java. One professional group of it can stay for a whole moth to stage in one city before they move to another city over and over just to imagine how popular this traditional theater used to be.
But, contemporary life styles of people have made so many challenges for the traditional kethoprak groups to survive. Television programs have been dominated by popular cultures mostly of Western pop music, imported soap operas and reality shows. Moreover, television programs have been based on a rating system from the people responses to its programs and thus those programs that have only a view number of rates will automatically be wiped out from the programs lists. Traditional kethoprak was the one of those unfortunate genres of performing arts that has no more position to be aired on television or radio programs. However, several creative young artists of the kethoprak have begun to transform the art of the stage and performance as well as the artistic of
2
the traditional kethoprak. So many new sub-genres have emerged since then despite the long for the traditional kethoprak to comeback.
Keywords: Kethoprak, Challenges, and Transformation
Traditional Kethoprak Theater of Java: The New Challenges and Transformations
Full text linkThe history of traditional kethoprak theater of Java dates back in early 19th century when predominantly Javanese farmers playfully make some rhythmic music on a wooden-canoe-in shaped used to manually crush the rice paddy. By the time being they incorporated their percussion playing with some story telling mostly based on local myths and legendary stories. This became the first traditional kethoprak known as kethoprak lesung. Lesung itself is a wooden-canoe-in shaped used to crush the rice paddy with a mortar during the good harvest season. Using the large mortars a group of women, normally comprises of four or five women, crush the rice paddy over and over until it becomes the white rice ready to be cooked.
The needs of expressing the story telling to be more dramatic have motivated them to make it to become a performance art. Moreover they incorporated it with some gamelan musical instruments, costumes and acting and thus it became the second development of traditional kethoprak and was called as kethoprak campuran (mixed kethoprak). This traditional theater was so much popular during the years of 1925 – 1927. The comedy part was the most awaited by the audience, despite the whole story that now has been incorporated with the historical events of Javanese kingdoms and thus the needs of actors and actresses to perform the roles has become importance considerations ever since.
The history of the traditional kethoprak kept on flourishing and the most of it development was that it already using a complete set of gamelan orchestra, and thus it called as kethoprak gamelan (gamelan kethoprak), and the stage has become more attractive with the use of light and sound system, back ground effects and the art of performance has also been modernized as well. Hundreds of professional kethoprak groups can be found anywhere in most cities in Java. One professional group of it can stay for a whole moth to stage in one city before they move to another city over and over just to imagine how popular this traditional theater used to be.
But, contemporary life styles of people have made so many challenges for the traditional kethoprak groups to survive. Television programs have been dominated by popular cultures mostly of Western pop music, imported soap operas and reality shows. Moreover, television programs have been based on a rating system from the people responses to its programs and thus those programs that have only a view number of rates will automatically be wiped out from the programs lists. Traditional kethoprak was the one of those unfortunate genres of performing arts that has no more position to be aired on television or radio programs. However, several creative young artists of the kethoprak have begun to transform the art of the stage and performance as well as the artistic of
2
the traditional kethoprak. So many new sub-genres have emerged since then despite the long for the traditional kethoprak to comeback.
Keywords: Kethoprak, Challenges, and Transformation
The Javanese Panji Story: its transformation and dissemination into the performing arts in Southeast Asia
Full text linkAbstract
This paper studies descriptively several versions of Javanese Panji Story with its transformation and dissemination into the performing arts found in Southeast Asia. Accordingly, there are versions varied not only regarding its stories, locations, events, and the style of its narratives but also the flow of the stories. So many other versions have not been described here in this paper just to imagine how this 13th century Javanese literature has turned out to become so many versions. Moreover, the story has spread out not only in Indonesia but also throughout the Southeast Asian archipelago. The study found that authenticity is not the concern because the original version of the Panji Story was not existed and thus texts can be in so many forms. However, what was overwhelming is that the story had been transformed into so many genres of performing arts in Southeast Asia, such as in Indonesia, Thailand, Cambodia and Myanmar, the former state of Burma. The study found that the performing styles of Panji or Inou in Indonesia, Thailand, Cambodia, and Myanmar shared the same styles as typical classical dance of Royal Palace that performed high standards of performances such as glorifying model of costumes and accompanied by aesthetically qualified Royal Palace Music Ensembles.
Keywords: Panji Story; transformation; performing arts
How to Cite: Bramantyo, T. & Hung, S. (2017). The Javanese Panji Story: its transformation and dissemination into the performing arts in Southeast Asia. Harmonia: Journal of Arts Research And Education, 17(2), 113-119. doi:http://dx.doi.org/10.15294/harmonia.v17i2.1153
Apresiasi Musik
Full text linkAPRESIASI musik dapat didefinisikan sebagai dicapainya kemam-puan untuk mendengarkan musik dengan penuh pengertian. Meski-pun orang memiliki kemampuan yang berbeda dalam daya tangkap musikal mereka, tak seorangpun lahir dengan ke-mampuan ini; ia hanya dapat dicapai. Usaha secara sadar me-rupakan keharusan yang dituntut sepanjang waktu dalam la-tihan mendengarkan musik secara penuh pengertian. Oleh ka-rena itu kita akan menyadari, dengan cara yang bagaimana Anda dapat mencapai kemampuan untuk mendengarkan seca-ra penuh pengertian.
Menyukai dan menghargai adalah istilah-istilah yang ber-hubungan, tetapi keduanya tidak berarti sama. Sangatlah mungkin untuk menyukai musik – yaitu, untuk menerima ke-senangan darinya – tanpa memahaminya atau sungguh-sung-guh mengapresiasikannya. Juga sangatlah mungkin untuk me-mahami secara teknis sebuah komposisi musik tanpa menyu-kai sepenuhnya. Meski demikian, ingatlah bahwa untuk men-capai rasa senang yang sebesar-besarnya dari musik Anda ha-rus memiliki beberapa pengertian mengenai itu, dan tanpa pe-duli seindah apapun suatu pengalaman pergelaran musik me-nyenangkan bagi Anda, beberapa tambahan pengertian yang dapat Anda serta kepada musik tersebut akan mendorong puncak penikmatan Anda.
Disseminasi musik barat di timur Studi historis penyebaran musik barat di Indonesia dan jepang lewat aktivit
No full textLagu Melayu Populer Deli, Minangkabau Dan Minahasa: Kajian Fungsi Sosial Dan Diseminasi
Full text linkPunahnya seni tradisi dalam era transformasi budaya agraris masyarakat Melayu ke modern industrial umumnya diakibatkan oleh perubahan gaya hidup yang kapitalistik. Untuk itu perlu dibangunkan tamadun khalayak Melayu yang modern tetapi berlandaskan budaya tradisi leluhur. Dalam kondisi yang demikian itu diperlukan sebuah pemikiran yang filosofis tentang penyelamatan tamadun tradisional Lagu Melayu Populer. Nyanyian adalah suatu bentuk ekspresi personal dan budaya yang terdapat didalam bidang musik. Sebagai teks sejarah dan sosial, karya-karya musik dan nyanyian menggunakan berbagai-bagai isyarat dan simbol tradisional yang bersifat alternatif seperti yang diperdengarkan atau dimainkan. Melalui nyanyian, kita dapat mengapresiasi dan memahami keragaman khazanah budaya nusantara dan budaya negara lainnya. Secara tidak langsung juga, melalui nyanyian kita dapat memahami jatidiri kita sebagai makhluk yang merupakan sebagian dari alam semesta yang luas. Buku Ajar ini dibuat disebabkan pada umumnya timbul kehendak untuk memahami budaya musikal dan nyanyian nusantara, dan secara khusus terhadap Lagu Melayu Populer sebagai khazanah budaya serumpun Melayu. Lagu Melayu Populer dipilih sebagai aspek utama penelitian kerana genre ini telah menjadi warisan (cultural histories) bagi bangsa Melayu serumpun beserta sejarahnya yang tersendiri. Buku Ajar ini berkenaan dengan Lagu Melayu Populer dan transmisi di dalam lembaga pendidikan formal
"Recent Development of Ethnomusicological Studies in Indonesia after Kunts Visits in 1930's"
Full text linkIt was a remarkable effect scientifically that soon after the late Kunst
visits in Indonesia duri ng the early 1930s that the development of non Western
music studies all over the world had had become so quickly developed. The name
Jaap (or Jacob) Kunst is always associated to the study of the gamelan music
of Indonesia for since then, after one of his PhD students, so called Mantle
Hood, completed his study on the topic of “The Nuclear Theme as a Determinant
of Patet in Javanese Music” in 1954, the gamelan studies and practice has
become developed throughout the world best known universities. According ly, in
the USA alone there are now more than 200 gamelan groups have been
established.
The ideas and the establishment of ethnomusicology would not be happened if
Jaap Kunst, as an ethnologist, had never been visited Indonesia in his life
time. His visit to Indonesia was also at the right time when the comparative
musicology have no longer popular amongst the Western scholars. His works have
become world widely well known. Amongst them were written whilst he was in
Indonesia; i.e. the Music of Bali (1925 i n Dutch), the Music of Java
(originally in Dutch in 1934, last English edition 1973), Music in New Guinea
(1967), Music in Nias (1939), Music in Flores (1942) and numerous other books,
publications, recordings and musical instruments collections that made Jaap
Kunst as the most outstanding scholar on the study of Indonesian musical
traditions.
It should be noted here that soon after his completion of his doctorate study,
Mantle Hood extends the study of ethnomusicology not only as a field study but
also as a participatory field study, so on the other hand, a researcher in
ethnomusicological study should a participant observer as well. This school of
thought, hand in hand with his theory on 'bi musicality', have become very
popular since then and thus the cen ter of the study of ethnomusicology has
moved from the Netherlands to the United States. With his school of thought,
Mantle Hood then settled up the teaching of the gamelan as a practice not only
as a theoretical approach or the study of the documents and or recordings. The
first gamelan instruments were brought to UCLA in early 1960 right after the
Department of Ethnomusicology has been established. Soon after this, he also
inviting a gamelan maestro from Yogyakarta, a great maestro gamelan so called
Ki Tj okrowasito, the very best teacher of gamelan, to teach in UCLA. This
followed by inviting Indonesian scholars in the performing arts to study
ethnomusicology and to teach gamelan and dance at the universities in he USA
ethnomusicology and to teach gamelan and dance at the universities in he USA in early 1970s. This movement of exchin early 1970s. This movement of exchange have made that the gamelan and dance ange have made that the gamelan and dance of Indonesia have become so widely spread out throughout the USA. of Indonesia have become so widely spread out throughout the USA.
Indonesia, however, was very late in responding the trends. The first school
Indonesia, however, was very late in responding the trends. The first school of ethnomusicology was established at Institut Seni Indonesia (ISIof ethnomusicology was established at Institut Seni Indonesia (ISI) Yogyakarta ) Yogyakarta in early 1980s, followed by Universitas Sumatra Utara (USU) and Universitas in early 1980s, followed by Universitas Sumatra Utara (USU) and Universitas Gadjahmada in early 1990s. The first society of ethnomusicology was Gadjahmada in early 1990s. The first society of ethnomusicology was established also in early 1990s but had died out in early 2000 despite that established also in early 1990s but had died out in early 2000 despite that the study of the discipthe study of the discipline is growing steadily.line is growing steadily.
From the description above, we noticed that the creation of the discipline of
From the description above, we noticed that the creation of the discipline of ethnomusicology was established in the Netherlands but was developed in the ethnomusicology was established in the Netherlands but was developed in the USA while the idea was brought by Jaap Kunst from Indonesia. Whereas thereUSA while the idea was brought by Jaap Kunst from Indonesia. Whereas there were direct influences from the USA to the development of ethnomusicological were direct influences from the USA to the development of ethnomusicological study in Indonesia, less influences were directly come from the Netherlands.study in Indonesia, less influences were directly come from the Netherlands.
Keywords:
Keywords: gamelangamelan, , ethnomusicologyethnomusicology, , IndonesiaIndonesia..
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