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SELONDING

selonding
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Published by Institut Seni Indonesia Yogyakarta

ISSN : 14121514 EISSN : 26859327 DOI : https://doi.org/10.24821/sl.v20i1

Core Subject : Humanities, Art, Social,

Arts Humanities Social Sciences

Focus & Scope Science: Organology-acoustics, Semiotics, Hermeneutic, Etnomusicology, Transcript, Composition of Ethnic music, Music Exploration, Anthropologi Music, Sosiology Music, Physics, Culture Assesment and Practice: Assesment of Ethnic music, Practice base Research, Practice led Research Ideas, Concept, Thoughts about music ethnic

Arjuna Subject : Seni dan Humaniora - Musik

Articles 8 Documents

Search results for , issue "Vol 11, No 11 (2017): MARET 2017" : 8 Documents clear

Story of Love Antonius Edi Dwi Purnomo
SELONDING Vol 11, No 11 (2017): MARET 2017
Publisher : Institut Seni Indonesia Yogyakarta

The work of art has the goal of music as a form of application of enculturation as idium cultural phenomenon in the making. Story of Love is a work of art inspired by the journey of love two people who have different cultural backgrounds, the process of melting a man against a culture. This musical artwork has three parts form with the translation of each individual human being into the idea of cultivating to the union of two human beings. This musical artwork using idium tradition as a basic foundation with an emphasis on Java and Minangkabau culture. Methods of augmentation, retrobasi, harmony, and dynamics is the method used in the process of cultivating a work entitled Story of Love. This work is one manifestation of which music is a universal means of communication. This music works also as a form of art conservation teradisi as a form of respect to the local culture.Keywords: cultural phenomenon enculturation, the journey of love, music universal means of communication, cultural preservation.

TEMBANG (LAGU) DOLANAN ANAK SEBAGAI INSPIRASI PENCIPTAAN TARIAN ANAK Untung Muljono
SELONDING Vol 11, No 11 (2017): MARET 2017
Publisher : Institut Seni Indonesia Yogyakarta

Tembang 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.

Ghuwai Cetik Aris Tiano
SELONDING Vol 11, No 11 (2017): MARET 2017
Publisher : Institut Seni Indonesia Yogyakarta

Cetik is a traditional tool Lampung derived from Skala kingdom Brak Lampung West. Estimated to have existed since centuries 485sm. While the word comes from Lampung ghuwai which means create, make, do a job. Two words into ghuwai cetik, the musical instrument made of bamboo. Stylist interest by making cetik instrument is the source of the sound produced.Ghuwai cetik or how to make traditional musical instruments Lampung is an inspiration to stylists to be a theme in the musical composition. After finding inspiration in realizing further various stages such as stages of selection, cutting, tunings and finishing. The method used in the work of this musical composition using the Re-Interpretation and contemporary approach.Keywords: Ghuwai cetik, Process.

SIGN OF MORSE #2 Ossi Darma Desprian
SELONDING Vol 11, No 11 (2017): MARET 2017
Publisher : Institut Seni Indonesia Yogyakarta

Sign of Morse # 2 is a creation of ethnic musical composition inspired by the empirical experience of the author, that is overseas trip undertaken from their hometown to the other areas to seek new experiences.Sign of Morse # 2 sourced with three ethnic groups in Indonesia, namelyPadang, Berau and Yogyakarta. The authors add textual idea of using Morse as the cultivation of the material so that the concept more interesting creation.The background of the birth of a creation based on the basic functions and interests as well as the hearts of the composer itself. Social criticism, natural phenomena, even outpouring composer a wide variety of content contained in a creation. Sign of Morse # 2 has a goal to provide a reference musical ideas through Morse and hope to contribute to the community or audience of creation in order to become a lighter to always create. The author hopes that the birth of this creation, Morse could serve as an example for contextual idea of making the work of musical composition.Each symbol is a result of word processing Padang, Berau and Jogja given beats to determine measures of which will be used in every part of the composition. As for the tone processing, the author uses the pentatonic represents Javanese (Pelog), Hijaz represent Berau and Minang represented by imitation and Bansi talempong technique that has been processed into a musical composition.

KESINAMBUNGAN DAN PROSES TRANSMISI KELENTANGAN DALAM KONTEKS RITUAL MASYARAKAT DAYAK BENUAQ DI KALIMANTAN TIMUR Eli Irawati; Wisma Nugraha; Timbul Haryono
SELONDING Vol 11, No 11 (2017): MARET 2017
Publisher : Institut Seni Indonesia Yogyakarta

Transmission is one of the notable issues due to its role in the continuity of local-traditional musical practices across the globe. This paper aims to explore the transmission of kelentangan music and its link with the continuity of the music.Using ethnographic approach, this study deal with kelentangan not merely as musical sound but as a results of music making and varius activities in the daily life of Benuaq people. This study shows that, firstly, transmission of knowledge and skilss od kelentangan occurred between penu’ung to penu’ung and between penu’ung and its audiences. The second, kelentangan is closely tied with the extra-musical contexts. There has been no specific learning institution in Dayak Benuaq culture to the teaching and learning of the music. The third, the transmission of kelentangan not only generates the regenerations of its musicians, but also of its audiences. Last but not least, transmission has been one of notable elemets of the continuity of music. Transmission however cannot be operating in itself. It instead closely tied to various extra-musical context and activities in the life of Benuaq people, ranging from profane to the sacred one. In other words, it is located in the ecosystem of culture of Benuaq people. The transmission of kelentangan takes place in part due Benuaq peopleare still remain conduct their culture in line with their ancestors life in the past. Thus, to maintain the continuity of kelentangan music means to maintain the ecosystem of culture of Benuaq people. Keywords: Kelentangan, Transmission, Continuity, Contexts, Ecosystem of Culture

GENDING SANDYAGITA KARYA I WAYAN SENEN TINJAUAN BENTUK DAN FUNGSI Putri Wulandari
SELONDING Vol 11, No 11 (2017): MARET 2017
Publisher : Institut Seni Indonesia Yogyakarta

I Wayan Senen is a composer who has a created of the gending sandyagita as a religious gending for Hinduist activities in Yogyakarta. There are several factors of the created gending-gending sandyagita is internal factors and external factors. Which included in internal factors is the desire of achivement, would like to adoption the creation method of Wayan Beratha, and donate the result of artworks. Which included in external factors is birth of a phenomenon, social interaction and a request from an event. In the creation gending sandyagita of Senen, has a mix of karawitan Jawa dan karawitan Bali. Karawitan Jawa is used as a source of design among other forms of gending sampak, vocal melody macapat pangkur, pattern of tabuhan gamelan sekaten, and the main melody vocal panjang ilang. The gamelan creation that used in sandyagitafor Senen is gamelan Semarandana. The method of used in this research is qualitative research. Gending sandyagita has three function, there are ritual ceremoni, entertaiment, and estetic presentation.

TANGGA NADA HIBRID MELALUI KONSEP PENCIPTAAN MUSIK Berehme Adyatmo Purba
SELONDING Vol 11, No 11 (2017): MARET 2017
Publisher : Institut Seni Indonesia Yogyakarta

This writing is in the background of the phenomenon of existing phenomena of some composers making works of musical composition. Dominate the idea of story-based musical creation (ektramusikal) in the academic environment, resulting in an imbalance of explanations of the work. The purpose of the author is to create a concept of formation of hybrid tone, to participate as part of a musical discussion such as conceptualization before the embodiment of the work. Then to know that the many background ideas of the creation problem from the intramusical aspect of the creation dominance of the extramusical element. Combining elements of music from two different types of classification ladder. The process of making these hybrid tones is the result of developing the concept of a pre-existing hybrid scale, beginning with an experiment of tone interval combinations. Hybridity-related because it uses two elements of music combined, to underlie the exposure of concepts such as systematic flow of two elements of music mixed from two musical cultures. So with this intention as a trigger for writers and composers who want to do concept development also strengthen the intramusikal argument in the creation that is done, thus enriching the discourse in the field of musical composition. Keywords: Scale, Hybrid, Creative Idea

MUSIK ODROT DI KABUPATEN PONOROGO Hengki Triprasetyo
SELONDING Vol 11, No 11 (2017): MARET 2017
Publisher : Institut Seni Indonesia Yogyakarta

Odrot music is the art of music featured in Ponorogo, existing end centuries of Dutch colonialism in Indonesia, but its development was started in 1958. From then on stand several music groups Odrot, but that survive today are a group of music Odrot Kelana Ria. Although there are other groups who also manages Music Odrot, but the players invited players in Kelana group Ria. Music Odrot is a musical ensemble consisting of instruments trumpet, Euphonium 1, Euphonium 2, flugel, sousaphone (which by the player music Odrot called a piston, tenor 1, tenor 2, kaltu, bass), drums, kendang ciblon, ketipung dangdut, jidor and cer, keyboard and electric bass.Odrot Music initially brought the songs of preaching Islamic nuance. Furthermore, Odrot music was developed in accordance with the times so that the songs were not limited to propaganda songs where tailored to the needs of supporters. This study aimed to describe a way of presenting Odrot music and explain its function in society in detail. Odrot Music ensemble distinguished by traditional and modern terms: so-called traditional because of the instruments used is a piston, tenor 1, tenor 2, kaltu, bass, drums, kendang ciblon, ketipung dangdut, jidor and cer; called modern because coupled with keyboard instruments and electric bass. If the ensemble Odrot Music brings the songs styles (langgam), the instruments which are used namely kendang ciblon, while dangdut songs accompanied by ketipung dangdut.There is a basic song which (if not in special circumstances) is always played the name of that song is Ponoragan Kebo Giro. In addition, this song further characterize Odrot. Ponoragan songs Kebo Giro consists of 8 (eight) bars are played repeatedly in accordance with the cue trumpet. The song is sung to the rhythm of the Odrot's mars and traditional. Therefore, the ordot main function is as an entertainment in addition to other functions as an aesthetic presentation, the physical response, local cultural identity, informal educational facilities, media propaganda, cultural continuity, communication, and community integration.

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Reviewer

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Contact Name
Ary Wijayanto

Contact Email
412y.wija@gmail.com

Phone
+6281326177669

Journal Mail Official
selonding@isi.ac.id

Editorial Address
Gedung Lt.2 Jurusan Etnomusikologi Fakultas Seni Pertunjukan ISI Yogyakarta Jl. Parangtritis km. 6,5 Sewon, Bantul Yogyakarta-55141

Location
Kab. bantul,

Daerah istimewa yogyakarta

INDONESIA

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Home Page

OAI Link

Editorial Team

Contact

Reviewer

Google Scholar

Contact Name Ary Wijayanto

Contact Email 412y.wija@gmail.com

Phone +6281326177669

Journal Mail Official selonding@isi.ac.id

Editorial Address Gedung Lt.2 Jurusan Etnomusikologi Fakultas Seni Pertunjukan ISI Yogyakarta Jl. Parangtritis km. 6,5 Sewon, Bantul Yogyakarta-55141

Location Kab. bantul, Daerah istimewa yogyakarta INDONESIA

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Contact Name
Ary Wijayanto

Contact Email
412y.wija@gmail.com

Phone
+6281326177669

Journal Mail Official
selonding@isi.ac.id

Editorial Address
Gedung Lt.2 Jurusan Etnomusikologi Fakultas Seni Pertunjukan ISI Yogyakarta Jl. Parangtritis km. 6,5 Sewon, Bantul Yogyakarta-55141

Location
Kab. bantul,

Daerah istimewa yogyakarta

INDONESIA