61 research outputs found
Laras Slendro In Traditional Music Gamelan Banyuwangi Changes
No full textA traditional music group from the Banyuwangi region with unique qualities is called Gamelan Banyuwangi. The peculiar laras known as the slendro sliring that distinguishes the Banyuwangi gamelan from other gamelan is one of its distinguishing features. The laras slendro sliring, however, became less common as time went on due to changes. This study set out to identify the variables that affected how the laras slendro changed in relation to the Banyuwangi gamelan. Descriptive qualitative research methodology was employed in this study. The laras on the Banyuwangi gamelan serve as the study's formal and material objects, respectively, together with the notion of change. Secondary information was gathered from records, such as old music videos and some pictures of previous forms of gamelan music. Data collection techniques used in this study include observation, interviews, and document studies. To get the validity of the data the author triangulated the sources. The analysis technique used by the author includes data reduction, data presentation, and drawing conclusions. The results of the study, there are two factors that affect the change in the laras of the Banyuwangi gamelan slendro, namely changes in evolution and acculturation. Evolutionary changes occur in the decrease in the tone of the laras slendro sliring to the slendro that is used today because the younger generation cannot follow the use of the laras slendro sliring so there is an evolution in Banyuwangi gamelan music. Second, there are changes due to acculturation factors that occur during tuning, so Banyuwangi gamelan craftsmen use standard Western music tuners to make tuning easier
Nglebur Laras
No full textThe 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
Garap Ricikan Rebab Gending Jatipurno Laras Pelog Pathet Lima Kendhangan Sarayuda
No full textSkripsi dengan judul “Garap Rebab Gending Jatipurno Laras Pelog Pathet Lima Kendhangan Sarayuda” membahas mengenai tafsir garap rebab pada gending yang terkait. Dalam hal ini penulis melakukan penelitian untuk mencari kemungkinan pengembangan dengan gending yang tadinya disajikan dengan garap soran menjadi sajian gending dengan garap lirihan. Kemudian penulis menggunakan pola garap kendhangan ciblon yang sebelumnya gending berlaras pelog pathet lima belum pernah ditemukan dengan garap kendhangan ciblon pada bagian dhawah.Sebelum proses penggarapan penulis mencari referensi melalui jurnal “Garap Rebab Gending Laras Pelog Pathet Lima”. Proses penggarapan yang dilakukan adalah menafsir ambah-ambahan balungan gending, menafsir pathet, menafsir rebaban. Penulis juga berperan sebagai penyaji memainkan ricikan rebab sebagai pamurba lagu pada gending ini.Setelah dilakukan penelitian, ambah-ambahan, pathet Gending Jatipurno sangat bervariasi, Gending Jatipurno merupakan gending berlaras pelog pathet lima.Terdapat banyak gending dalam karawitan gaya Yogyakarta, salah satunya Gending Jatipurno Laras Pelog PathetLimaKendhanganSarayuda yang penulis tarik kesimpulan dari beberapa pendapat narasumber Gending Jatipurno bukan termasuk gending srambahan atau tidak populer dikalangan masyarakat. Proses Penggarapan yang dilakukan tidak lepas dari teori-teori karawitan dari peneliti terdahulu. gending merupakan bahan atau sarana garap dan penggarap merupakan penentu garap. Dalam buku Bothekan Karawitan II: Garap, tulisan Rahayu Supanggah dijelaskan bahwa “garap adalah kreativitas dalam (kesenian) tradisi. Terwujudnya naskah skripsi ini menandakan bahwa penulis telah berhasil menafsir rebaban Gending Jatipurno Laras PelogPathetLimaKendhanganSarayuda berdasarkan hasil tafsir ambah-ambahan, tafsir padhang ulihan dan tafsir pathet. Tafsir garap rebab yang ada pada penelitian ini merupakan salah satu hasil tafsir, sehingga dapat terjadi tafsir lain dari penggarap lainnya.(Working on the Rebab Gending Jatipurno Laras Pelog Pathet Lima Kendhangan Sarayuda)The thesis with the title "Working on the Rebab Gending Jatipurno Laras Pelog Pathet Lima Kendhangan Sarayuda" discusses the interpretation of working on the fiddle on related pieces. In this case the author conducted research to look for the possibility of developing a piece of music that was previously presented by working on soran to become a piece of music by working on songs. Then the author uses the pattern of working on the ciblon kendhangan, which previously had never been found with pelog pathet five-barreled gending by working on the ciblon kendhangan in the dhawah section. Prior to the cultivation process the author looked for references through the journal "Working on Rebab Gending Laras Pelog Pathet Lima". The process of cultivation that is carried out is interpreting the balungan musical additions, interpreting pathet, interpreting rebaban. The author also plays the role of presenter playing the fiddle ricikan as pamurba of the song in this piece. After doing research, the pathet of Gending Jatipurno is very varied, Gending Jatipurno is a five-barreled pelog song. There are many pieces in Yogyakarta style karawitan, one of which is Gending Jatipurno Laras Pelog Pathet Lima Kendhangan Sarayuda, which the author draws conclusions from several sources' opinions. Gending Jatipurno is not a srambahan piece or is not popular among the public. The cultivation process carried out cannot be separated from karawitan theories from previous researchers. music is the material or means of cultivation and the cultivator is the determinant of the work. In the book Bothekan Karawitan II: Garap, written by Rahayu Supanggah, it is explained that "working is creativity in (art) traditions. The realization of this thesis manuscript indicates that the author has succeeded in interpreting the Gending Jatipurno Laras Pelog Pathet Lima Kendhangan Sarayuda rebaban based on the results of the ambah-ambahan interpretations, the padhang ulihan interpretations and the pathet interpretations. The interpretation of working on the rebab in this study is one of the results of the interpretation, so that other interpretations can occur from other cultivators
GARAP GENDERAN GENDING GENDHIYENG LARAS SLENDRO PATHET MANYURA KENDHANGAN CANDRA
No full text“Garap Genderan Gending Gendhiyeng Laras Slendro Pathet Manyura Kendhangan Candra” membahas cengkok genderan yang tepat untuk diaplikasikan bagi Gending Gendhiyeng laras slendro sesuai dengan pathetnya. Gender barung memiliki peran yang signifikan dalam sajian karawitan, yakni sebagai pamangku lagu. Oleh sebab itu, ketepatan tafsir garap akan sangat mempengaruhi baik dan tidaknya sebuah penyajian gending.Penelitian tentang kajian garap penyajian Gending Gendhiyeng gaya Yogyakarta merupakan upaya memperkaya khasanah garap dalam gending-gending tradisi gaya Yogyakarta, khususnya garap lirihan. Berdasarkan hasil penelitian, Gending Gendhiyeng sebagai objek analisis dalam konteks kajian garap balungan Gending Gendhiyeng mempunyai spesifikasi balungan tersendiri sehingga menarik untuk diteliti dan digarap.Metode yang digunakan dalam penelitian ini adalah metode deskripsi tafsir dari balungan gending. Tafsir dilakukan terhadap berbagai masalah yang berkaitan dengan garap musikal, antara lain pathet, ambah-ambahan, serta cengkok genderan barung yang akan dipergunakan. Agar tafsir yang didapat memenuhi harapan, maka penulis melengkapinya dengan memperbanyak referensi baik berupa data tertulis, audio, maupun wawancara. Dengan modal berbagai cara tersebut diharapkan penyajian Gending Gendhiyeng Laras Slendro Pathet Manyura dapat memenuhi kwalitas yang ideal.Garap Genderan Gending Gendhiyeng Laras Slendro Pathet Manyura Kendangan Candra "Garap Genderan Gending Gendhiyeng Laras Slendro Pathet Manyura Kendhangan Candra" discusses the correct gender bend to be applied to Gending Gendhiyeng slendro tunings according to the pathet. Gender barung has a significant role in karawitan presentations, namely as pampangku song. Therefore, the accuracy of working on interpretation will greatly affect whether or not a piece of music is presented.Research on the study of working on the presentation of Yogyakarta-style Gending Gendhiyeng is an effort to enrich the repertoire of works on traditional Yogyakarta-style repertoires, especially those of lyrical compositions. Based on the research results, Gending Gendhiyeng as an object of analysis in the context of the study of working on balungan Gending Gendhiyeng has its own balungan specifications so it is interesting to study and work on.The method used in this study is the method of interpreting the description of balungan gending. Interpretation is carried out on various issues related to musical work, including pathet, ambah-ambahan, and crooked genderan barung which will be used. In order for the interpretation obtained to meet expectations, the author completes it by adding more references in the form of written data, audio, and interviews. With these various methods, it is hoped that the presentation of Gending Gendhiyeng Laras Slendro Pathet Manyura can meet the ideal quality
Garap Gendèr Barung Gending Gantal Wedhar Laras Slendro Pathet Sanga Kendhangan Jangga
No full textGending Gantal Wedhar laras slendro pathet sanga memiliki bentuk kendhangan jangga atau setara dengan kethuk 4 kerep dhawah kethuk 8, merupakan gending srambahan yang jarang disajikan. Tujuan dilakukannya penelitian ini adalah untuk menafsir garap ricikan gendèr dalam penyajian Gending Gantal Wedhar laras slendro pathet sanga Pada balungan gending yang bersumber dari Naskah Pakěm Wirama: Wilět Gěndhing Běrdangga Laras Sulendro, penulis menemukan beberapa keunikan gatra yang susunan balungannya mengindikasikan adanya percampuran pathet sehingga perlu dicermati dan dikaji secara khusus untuk menentukkan garap gendèran. Metode yang digunakan penulis dalam penelitian ini adalah kualitatif, dengan proses penggarapan sesuai rumus 4M, yakni memahami, mengidentifikasi, menerapkan, dan mempraktikkan. Gendèr barung sebagai objek dalam penelitian ini memiliki fungsi penting untuk mengisi ruang dan waktu yang dibuat oleh kendang serta berkaitan dengan irama. Gendèr juga bertugas menguatkan pathet. Penulis mengumpulkan beberapa céngkok gendèran yang kemudian diaplikasikan pada balungan gending Gantal Wedhar, hal tersebut tidak terlepas dari konsep pathet, sehingga gending Gantal Wedhar memungkinkan untuk digarap di luar rasa pathet sanga.Garap Gendèr Barung Gantal Wedhar Song in Laras Slendro Pathet Sanga Kendhangan JanggaGending Gantal Wedhar set in slendro pathet sanga has a kendhangan jangga form or the equivalent of kethuk 4 kerep dhawah kethuk 8, which is a rarely presented srambahan music. The purpose of this research is to interpret the ricikan gendèr in the presentation of Gending Gantal Wedhar in slendro pathet sanga. On the balungan gending sourced from Pakěm Wirama manuscript: Wilět Gěndhing Běrdangga Laras Sulendro, the author found several unique gatras whose balungan arrangement indicates a mix of pathet so that it needs to be examined and studied specifically to determine the gendèran arrangement. The method used by the author in this research is qualitative, with the process of working according to the 4M formula, namely understanding, identifying, applying, and practicing. Gendèr barung as the object of this research has an important function to fill the space and time created by the kendang and related to the rhythm. Gendèr is also responsible for reinforcing the pathet. The author collects several céngkok gendèran which are then applied to the balungan of the gending Gantal Wedhar, this is inseparable from the concept of pathet, so that the gending Gantal Wedhar allows it to be worked on outside the pathet sanga flavor
Garap Ricikan Gender Barung Gending Sawunggaling Laras Pelog Pathet Lima Kendhangan Sarayuda
No full textGending Sawunggaling adalah gending yang terdapat dalam karawitan gaya Yogyakarta dan termasuk klasifikasi gending tengahan. Menurut penulis, Gending Sawunggaling adalah gending soran, sehingga penulis bertujuan untuk menyajikan Gending Sawunggaling dalam bentuk lirihan dan berfokus pada pembahasan garap ricikan gender barung. Pendekatan yang digunakan dalam penelitian ini, yaitu pendekatan kualitatif dengan metode deskriptif analisis yang mencakup analisis padhang ulihan dan pathet Gending Sawunggaling. Analisis garap Gending Sawunggaling Laras Pelog Pathet Lima dilakukan menurut penafsiran penulis yang telah didiskusikan dengan narasumber. Setelah melakukan proses penafsiran cengkok gender terhadap notasi balungan Gending Sawunggaling Laras Pelog Pathet Lima penulis menyimpulkan, bahwa garap gending tersebut terdapat sejumlah 15 cengkok genderan yang diterapkan. Adapun rinciannya, yaitu dualolo ageng, dualolo alit, rambatan, kuthuk kuning kempyung, jarik kawung, ora butuh, ela-elo, kuthuk kuning gembyang, tumurun ageng, nduduk alit, tuturan, puthut gelut, debyang-debyung, yo bapak, dan gantungan. Berpijak pada jenisnya, yaitu cengkok umum, cengkok khusus, cengkok tuturan, dan cengkok gantungan.Garap Ricikan Gender Barung Gending Sawunggaling Laras Pelog Pathet Lima Kendhangan SarayudaGending Sawunggaling is a gending found in Yogyakarta style karawitan and is classified as a gending tengahan. According to the author, Gending Sawunggaling is a gending soran , so the author aims to present Gending Sawunggaling in lirihan form and focuses on the discussion of the ricikan gender barung. The approach used in this research is a qualitative approach with descriptive analysis method that includes analysis of padhang ulihan and pathet of Gending Sawunggaling. The analysis of garap Gending Sawunggaling Laras Pelog Pathet Lima is done according to the author's interpretation that has been discussed with the sources. After interpreting the cengkok gender on the notes of Gending Sawunggaling Laras Pelog Pathet Lima, the author concludes that there are 15 cengkok genderan applied in the performance. The details are dualolo ageng, dualolo alit, rambatan, kuthuk kuning kempyung, jarik kawung, ora butuh, ela-elo, kuthuk kuning gembyang, tumurun ageng, nduduk alit, tuturan, puthut gelut, debyang-debyung, yo bapak, and gantungan. Based on the type, there are general cengkok, special cengkok, cengkok tuturan, and cengkok gantunga
PENGAKUAN DAN PENGUKURAN ASET BIOLOGIS SESUAI DENGAN PERNYATAAN STANDAR AKUNTANSI KEUANGAN (PSAK) NO. 69 PADA CV. TATA LARAS SEJATI
No full textThe purpose of this research is to present the accounting treatments of
biological assets is in accordance to Statement of Financial Accounting Standard
Article 69 in CV. Tata Laras Sejati, broiler farming. Accounting treatment in the
agricultural business sector needs to be recorded with applicable standards so
that it can present reliable financial reports for internal and external parties. The
descriptive qualitative method is used in this research by collecting data,
analyzing data, and interpreting data. The types of data used are primary and
secondary data. The results of the study will be a description of the author to be
used as a reference in measuring biological assets at CV. Tata Laras Sejati so as
to facilitate the transaction input process in the bookkeeping, balance sheets,
income statements to cash flow statements
UPAYA GURU DALAM MENGATASI KESULITAN MEMBACA AL-QUR’AN SISWA KELAS VIII DI MTS MUHAMMADIYAH WARU SUKOHARJO TAHUN 2023/2024
No full textGARAP GENDÈR: GALAGOTHANG, GENDHING KETHUK 4 KEREP MINGGAH 8, LARAS SLENDRO PATHET SANGA
No full textThis artwork the thesis is entitled Garap Gendèr Galagothang, gendhing kethuk 4 kerep minggah 8 kalajengaken Ladrang Panjang Ilang, laras sléndro pathet sanga, trying to analyze Gendér gending garap kosek alus wiled. The problem proposed in the art thesis, how the garap gendèr gending the author chose. This problem is reviewed based on rules musical gendèr, like the pathet concept, and garap concept. The data is collected through literature studies, observations, and interviews with a number of artists karawitan.
On Gendhing Galagotang have changes garap, the author works with very strong consideration. This time for céngkok gendèr unlike the previous presentation.
Results of garap gending it was found céngkok uncommon propagation. Gending it has garap new, of course it also has garap different with garap exsisting ones, namely Gendhing Galagothang yang garap inggah kendang as well garap pakeliran
MANAJEMEN HALUSINASI PADA NY.S DENGAN DIAGNOSA KEPERAWATAN HALUSINASI PENDENGARAN DI UPT. REHABILITASI SOSIAL BINA LARAS PASURUAN
No full textBackground : Hallucinations must be the focus of attention of the health team because if hallucinations are not handled properly they can pose a risk to the safety of the client, other people and the surrounding environment. This condition may occur because the hallucinations that clients hear often contain orders to harm themselves and others. Implementation strategies for patients with hallucinations include activities to recognize hallucinations, teach patients to rebuke hallucinations, chat with other people when hallucinations appear, as well as carrying out scheduled activities to prevent hallucinations, taking medication regularly. Mrs. S is a patient with auditory hallucinations who is currently being treated at UPT Rehabilitation Bina Laras Pasuruan. The patient has been treated since 2002, where the patient has been at the Bina Laras Pasuruan Rehabilitation UPT for 22 years. This study aims to identify the effectiveness of hallucination management in Mrs. S patients with a nursing diagnosis of hallucinations.
Method : This research is a case study research. The research subject was Mrs. S, 53 years old, diagnosed with auditory hallucinations. This research was conducted at the UPT Social Rehabilitation Bina Laras Pasuruan from 11 September 2023 to 22 September 2023. The author followed the scientific method in accordance with the rules of the nursing process which includes: assessment, data analysis, nursing intervention, implementation and evaluation. In the assessment process, the author used data collection techniques such as history taking, observation, interviews and physical examination to collect some data. The intensity of Mrs. S's hallucinations was measured objectively using the AHRS (Auditory Hallucinations Rating Scale) questionnaire instrument.
Results : After the client is given SPTK in accordance with the nursing diagnosis and nursing plan that has been established, with the results of the evaluation the patient is able and understands how to control hallucinations in 4 ways, but the patient's weakness here is that the patient is unable to consistently carry out these 4 methods, so several times the patient is able do and signs of hallucinations decrease but only temporarily.
Conclusion : Management of hallucinations using SPTK Hallucinations is effective in reducing the signs and symptoms of patients with hallucinations, but it takes a long time
- …
