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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
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Gedung Lt.2 Jurusan Etnomusikologi Fakultas Seni Pertunjukan ISI Yogyakarta Jl. Parangtritis km. 6,5 Sewon, Bantul Yogyakarta-55141
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INDONESIA
SELONDING
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 6 Documents
 1 
Search results for , issue "Vol.2, No.2, September 2012" : 6 Documents clear
TETABUHAN DALAM UPACARA NGABEN SEBUAH TINJAUAN MUSIKOLOGIS I Nyoman Cau Arsana
SELONDING Vol.2, No.2, September 2012
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/selonding.v2i2.336

Abstract

The study aims to explore the musical aspects of percussions in the process of Ngaben ritual with musicological approach. There are three types of percussion to be analyzed; Balaganjur Peponggangan, Gender Wayang, and Angklung. The analysis indicates that the processing of musical elements that include melody, rhythm, harmony, tempo, and dynamics established in the three types of percussions are quite harmonious with the ritual procession. This indicates a close relationship between the percussion and the ritual that reflects the concept of the Balinese Hindus on their culture and religion.   Keywords: Tetabuhan, Ngaben, Musical Aspect
TEPAK KENDANG JAIPONGAN DALAM LAGU DAUN PULUS KÉSÉR BOJONG Asep Saepudin
SELONDING Vol.2, No.2, September 2012
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/selonding.v2i2.337

Abstract

The drum beat of Daun Pulus Keser Bojong or Keser Bojong is the most popular drum beat in West Java in 1980s. This paper aims to explore a variety of Jaipongan drum beats in the Daun Pulus Keser Bojong composition on descriptive analytic basis. By this method, the author explored a variety of musical elements that characterized the song with its particular drum beats, either in their forms and structures. Further, other musical instruments such as bonang, kecrek, lagu, gending, kempul, and goong were also taken into account. Among those characteristics is the dominant improvised drum beats at the beginning of the song (pangkat) with a quite long duration, which is nine times of gong sounding that never existed in other previous traditional ensembles. Keywords: strokes, jaipongan, késér bojong
MENELUSURI ASAL MUASAL LAHIRNYA ORKES KOLINTANG MINAHASA Dinar Sri Hartati
SELONDING Vol.2, No.2, September 2012
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/selonding.v2i2.339

Abstract

Kolintang is amusical genre. It is well known as a musical ensemble came from Minahasa, in North Celebes. But, many people do not know yet about the history of how this music was built, And why its construction and instrumens composition are as like as this time. This article describes about the contextual backround on how this music was builtand who are and the agents as the maker. Keywords: Kolintang, History, Minahasa
SENI RESITASI ROYONG DALAM RITUAL DAUR HIDUP ETNIS MAKASSAR DI KABUPATEN GOWA Solihing .
SELONDING Vol.2, No.2, September 2012
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/selonding.v2i2.340

Abstract

Royong recital performance art is a song or chanting in an artistic lyric. The ethnic of Makassar believe that the lyric chanted by royong reciting singers represents the prayer for safety and protection to live the life of the one chanted with royong lyric. In the life-cycle ceremony of a wedding, the chanted lyric of royong implies a prayer for happiness and wellbeing. The lyric recited during the life-cycle ritual, especially attompolok and assuna, represents mythical story to incite good fortune, prevent turmoil, and salvation prayer. It is also intended to form a character based on existing norms, for the survival of their children later, and the recitation is in Makassar Turiolo (the anchestors). The story in the royong lyric, according to the people of Makassar, is a myth believed to bring wellbeing for the chanted child, and is praying for the child to grow in a healthy condition until his or her adulthood. Keywords: Royong, Initiation, Makasar people
KARAWITAN WAYANG WALISANGA SEBAGAI MANIFESTASI MUSIK SENI ISLAMI Wasiran .
SELONDING Vol.2, No.2, September 2012
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/selonding.v2i2.342

Abstract

The Walisanga’s puppet performance has its uniqueness which is able to distinguish to another type of puppet performance. One of the uniqueness is the song or the piece. In accordance with the identity, song, and the lyric has to be appropriate with the Islamic religion. This phenomenon is very interesting to investigate as long as the song appropriate with the Islamic value. In order to understand the object, this investigation uses gamelan music knowledge and hermeneutic. The result is a synergy correlation between gamelan music pieces with the Islamic religious proselytizing using gamelan music performance, as a form of specific Javanese culture to the Indonesian society which is majority consist of Moslems community. Keywords: Karawitan, Walisanga Puppets, Islamic Music
MUSIK GAMBANG KROMONG SEBAGAI IRINGAN LENONG BETAWI Sukotjo .
SELONDING Vol.2, No.2, September 2012
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/selonding.v2i2.341

Abstract

Gambang Kromong music of Batavian in Jakarta plays a vital role in directing the mood of a Lenong play scene. Each scene staged in Lenong is accompanied by Gambang Kromong music to illustrate the sad, happy, and other moods in the performance. The interactive process between Gambang Kromong players and the Lenong characters is manifested in a mutual understanding of each scene. The performance of Lenong Betawi needs the support the accompanying Gambang Kromong ensemble.   Keywords: Gambang Kromong Music, Scene, Lenong

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