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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 11 Documents

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Search results for , issue "Vol 13, No 13 (2018): Maret 2018" : 11 Documents clear

Sakralisasi VS Desakralisasi, Takhayul VS Rasionalisme Dalam Studi Sejarah Kesenian Berutuk Dari Desa Trunyan, Bali Fisabil Mahardika Putra
SELONDING Vol 13, No 13 (2018): Maret 2018
Publisher : Institut Seni Indonesia Yogyakarta

This paper answer the question of what a Berutuk Art from the Trunyan village of Bali is seen from historic there the art was once very sacred, then how the implementation of art and why now that started from the year 1997 experienced desacralization. To answer questions, the research method used is literature study. The result of the research, the art of berutuk originally is a very sacred art, because it can bring prosperity that is realized with the coming rain. In the execution of art is played by a males who still virgin with an odd number, then two of them act as a Batara Berutuk and queen. Today the art of berutuk desacralization due to modernisation which refers to the approach of rationalism which is contrary to superstition or unreasonable.Keywords: the art of berutuk, execution, desacralization, modernization, rationalism, superstition

Nglebur Laras Teteh Dayatami
SELONDING Vol 13, No 13 (2018): Maret 2018
Publisher : Institut Seni Indonesia Yogyakarta

The 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.

Popularitas Gamelan Gong Kebyar Dalam Arena Pertarungan Kekuasaan Gamelan Bali Kadek Rismandika
SELONDING Vol 13, No 13 (2018): Maret 2018
Publisher : Institut Seni Indonesia Yogyakarta

Gong kebyar is the most popular Balinese gamelan ensemble. Gong kebyar is a new class of Balinese gamelan created between 1910 and 1915 in the north of Bali. The popularity of gong kebyar is used as a medium in the arena of power struggles. The analysis of this study uses the ethnomusicology point of view in discussing gong kebyar in the context of Balinese culture and sociology discipline to discuss gong kebyar in social scope critically. "Kebyar" refers to the Bourdieu power theory that used as a cultural capital in the arena of Balinese gamelan power struggle. Gong kebyar through cultural capital of the symbolic value "kebyar" gained dominance in the arena of Balinese gamelan power struggle. Balinese gamelan outside gong kebyar experiencing changes in the form of “tabuh gong” is the inclusion of the “tabuh gong” which is the identity of musical character of Gong kebyar. Keywords: gong kebyar, kebyar, cultural capital, Balinese gamelan.

Iringan Musik Dalam Pantomim Nur Iswantara
SELONDING Vol 13, No 13 (2018): Maret 2018
Publisher : Institut Seni Indonesia Yogyakarta

Pantomime is one of the oldest theater arts, where mime artists tell something just using their body, without talking. Pantomime artists are known for their white makeup and black pigtails, as well as other facial features to exaggerate their emotions. Black and white striped tops, white gloves and black hats are also complete with traditional Pantomime artist costumes. These clothes and makeup have become a tradition of many Pantomime artists. In adding the atmosphere of the movement displayed, a music illustration is given to bring the atmosphere to life.This study uses qualitative methods and action research methods which is a reflective research method. This type of research is able to offer new ways and procedures to improve and enhance the professionalism of pantomime presentation techniques. The approach used is structural and educative. The structure approach is used to solve something related to the arrangement or building of multi-level pantomime presentations, while the educational approach is used to solve those relating to pantomime education.Music illustrations in the Pantomime show can support the atmosphere of the show. The music played can be adjusted to the theme of the movement played by a Pantomime. Keywords: Pantomime, Illustration of Music, Atmosphere.

Kajian Akulturasi Pada Aspek Intramusikal Dalam Komposisi Musik Program “Watu Pinawetengan” Yudi Novrian Komalig
SELONDING Vol 13, No 13 (2018): Maret 2018
Publisher : Institut Seni Indonesia Yogyakarta

Music as part of culture is always changing. These changes can occur due to several things, one of them through acculturation. Acculturation is the intercultural contact of culturally intercultural groups that leads to cultural change for the group.Acculturation can be seen in a musical genre that combines two cultural idioms. One of them is the musical composition of Watu Pinawetengan program which will be described in this article. The composition of Watu Pinawetengan music program is a music program with string quartet format and instrument of tambur (percussion instrument of Minahasa). This musical composition consists of three movements, where each movement is inspired from Minahasa folklore about the origin of the division of agricultural areas. The first movement tells the story of the daily life of the Minahasan people. The second move tells the story of the conflict that occurred in the fight over agricultural land. While the third movement tells about negotiations to resolve conflicts in the division of agricultural areas.The musical composition of the program combines the ethical idioms of Minahasa music and western music. These idioms are manifested in the intramusic aspect, whether they are realized as melodies or harmonies. The merging of these two idioms will result in an acculturation. This acculturation process will be described in this article. What intramusical aspects are acculturated, the extent to which acculturation causes change, and which culture is stronger in its influence on other cultures. Keywords: Music, Composition.

INTERNET DAN MUSIK: MEDIA SOSIAL SEBAGAI WAHANA PUBLIKASI THE UPSTAIRS DAN DEATH FLAMES Sujud Puji Nur Rahmat; Lono Simatupang; Harsawibawa Albertus
SELONDING Vol 13, No 13 (2018): Maret 2018
Publisher : Institut Seni Indonesia Yogyakarta

Nowdays internet has become an important elemen in people life across the globe. Its impact has been seen in various scenes including music business and other artistic fields. Social media, running in support of internet, are now common in use by musicians or bands. Free of charge and global access of internet and social media provide an opportunity to disseminating the existence of a group of musicians. In this paper I would to show how social media has been utilized by a band to promote their group by themselves, focusing on myspace account of two bands, The Upstairs and death Flames. I divide this paper into introduction, an overview of www.myspace.com as well as a brief profile of the two bands, and a discussion on their account, kinds of responses and communication that established based on the accounts. Keywords: internet, musicians, band,and disseminating

Mantra Sebagai Ide Penciptaan Musik Etnis Jampi Gigih Ovra Wulanda
SELONDING Vol 13, No 13 (2018): Maret 2018
Publisher : Institut Seni Indonesia Yogyakarta

Mantra is the title of a musical work with spells of West Kalimantan ethnic Malays as the main material for its work. The purpose of this composition is to express spell duality. The concept of duality here is a mantra that is useful as a medium of goodness and a second mantra as a medium for danger. The word mantra itself can be interpreted as words when spoken containing mystic or sacred.Through the stages of exploration, improvisation, until finally the process of explicitly forming spells of musical composition can be seen as a form of music that has three parts. Covers the beginning, middle and end. This composition is played by two different idioms including ethnic musical instruments and ethnic Javanese musical instruments. Keywords: dualism, spells, Malay, mystical

Keruncong Stambul Fajar Dalam Acara Selamat Laut Di Pulau Mendanau Kabupaten Belitung Irwansyah Irwansyah
SELONDING Vol 13, No 13 (2018): Maret 2018
Publisher : Institut Seni Indonesia Yogyakarta

Mendanau 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.

Pencug Adimas Muhammad Fajariansyah
SELONDING Vol 13, No 13 (2018): Maret 2018
Publisher : Institut Seni Indonesia Yogyakarta

The 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.

Gereja Karismatik dan Inkulturasi Musik di Dalam Sistem Ibadahnya Hari Sasongko
SELONDING Vol 13, No 13 (2018): Maret 2018
Publisher : Institut Seni Indonesia Yogyakarta

The charismatic movement is an embryo of the birth of charismatic church in the world. The movement was began before the World War where the situation was marked by the economical decadence, particularly in the United States of America that caused uneasiness in several live of young community. The church model based on the power of Holly Spirit in the comprehension of Christian traditional faith. It is differenced from another church that grows in Europe. The church has been developing and finally, it is taking root on Western culture tradition, and then it appeared gospel music tradition. Unfortunately the members of this religious community are disposed another musical tradition that lives around them whereas they are something important to the success of progress of cultural dialog, so the charismatic chruch seem exclusive. By mean of historical studies, the writer try to critise on the prospect dialog between charismatic church and local tradition. The dialog will open the posibility of cultural spirit to furnish, support, and appreciate one to another. Keywords: charismatic, local music tradition, dialog, religious.

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Ary Wijayanto

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412y.wija@gmail.com

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+6281326177669

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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

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Abstract

Abstract

Abstract

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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

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