Relevant bibliographies by topics / "balkan music"

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic '"balkan music"'

Author: Grafiati
Published: 4 June 2021
Last updated: 2 February 2022

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Journal articles on the topic ""balkan music""

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Hofman, Ana. "Balkan Music Industries Between Europeanisation and Regionalisation: Balkan Music Awards." Musicological Annual 50, no. 1 (July 15, 2014): 157–74. http://dx.doi.org/10.4312/mz.50.1.157-174.

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Taking the regional music event “Balkan Music Awards” – presented as the Eurovision of the Balkans – as a case study, the article explores the ways in which the assumed exotic value of Balkan music and the existing sonic image of the Balkans are employed with the aim of invigorating the regional music market as a process of reorganizing “post–national” musical productions.
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Dumnić Vilotijević, Marija. "The Balkans of the Balkans: The Meaning of Autobalkanism in Regional Popular Music." Arts 9, no. 2 (June 16, 2020): 70. http://dx.doi.org/10.3390/arts9020070.

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In this article, I discuss the use of the term “Balkan” in the regional popular music. In this context, Balkan popular music is contemporary popular folk music produced in the countries of the Balkans and intended for the Balkan markets (specifically, the people in the Western Balkans and diaspora communities). After the global success of “Balkan music” in the world music scene, this term influenced the cultures in the Balkans itself; however, interestingly, in the Balkans themselves “Balkan music” does not only refer to the musical characteristics of this genre—namely, it can also be applied music that derives from the genre of the “newly-composed folk music”, which is well known in the Western Balkans. The most important legacy of “Balkan” world music is the discourse on Balkan stereotypes, hence this article will reveal new aspects of autobalkanism in music. This research starts from several questions: where is “the Balkans” which is mentioned in these songs actually situated; what is the meaning of the term “Balkan” used for the audience from the Balkans; and, what are musical characteristics of the genre called trepfolk? Special focus will be on the post-Yugoslav market in the twenty-first century, with particular examples in Serbian language (as well as Bosnian and Croatian).
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Medić, Ivana. "Making a Case for Balkan Music Studies." Arts 9, no. 4 (September 25, 2020): 99. http://dx.doi.org/10.3390/arts9040099.

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In his seminal comprehensive history of music(s) in the Balkan region, Jim Samson avoided the term “Balkan music” in favor of the less-binding title Music in the Balkans (Leiden: Brill, 2013). This, however, should not hinder us from probing the term “Balkan music” and its many connotations. In this editorial article for the Special Issue Balkan Music: Past, Present, Future, I aim to dissect the umbrella term “Balkan music” and its actual and presumed meanings and implications, while overviewing many different music traditions and styles that this term encompasses. I will also make a case for the establishment of Balkan Music Studies as a discipline and attempt to outline its scope and outreach.
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Dumnic-Vilotijevic, Marija. "Contemporary urban folk music in the Balkans: Possibilities for regional music history." Muzikologija, no. 25 (2018): 91–101. http://dx.doi.org/10.2298/muz1825091d.

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Starting with Maria Todorova?s landmark study Imagining the Balkans (Todorova 1997), numerous authors have raised their voices against stereotypical images of the Balkans. Over twenty years after the publication of this book, the term ?the Balkans? seems to have lost some of its negative connotations related to wars in favour of characteristics with positive overtones, such as the Balkan peoples? joie-de-vivre and entertainment strongly related to music. The areal ethnomusicology drawing from fieldwork throughout the Balkan peninsula has been a fruitful topic for numerous local and foreign ethnomusicologists and the very term ?the Balkans? has raised a special interest in the ethnomusicological research of ?outsiders?, as well as in the music industry. This paper is written from the perspective of an ?insider? ethnomusicologist from the Balkans. I raise the question of the definition of the ?Balkan? popular music label and discuss its main structural characteristics. I offer a new possibility of (re)considering a specific musical genre of the region based on the research of urban folk music practices. I present characteristics of urban folk music practices from the second half of the nineteenth and the first half of the twentieth century in the countries of the Balkans, with special attention paid to their common aspects. Also, contemporary urban folk music, which is often criticized as a specific popular music form, is considered.
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Lawford, Roderick. "“Perverting the Taste of the People”: Lăutari and the Balkan Question in Romania." Muzikologija, no. 29 (2020): 85–120. http://dx.doi.org/10.2298/muz2029085l.

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??Perverting the Taste of the People?: L?utari and the Balkan Question in Romania? considers the term ?Balkan? in the context of Romanian Romani music-making. The expression can be used pejoratively to describe something ?bar-baric? or fractured. In the ?world music? era, ?gypsy-inspired? music from the Balkans has become highly regarded. From this perspective ?Balkan? is seen as something desirable. The article uses the case of the Romanian ?gypsy? band Taraf de Ha?douks in illustration. Romania?s cultural and physical position with- in Europe can be difficult to locate, a discourse reflected in Romanian society itself, where many reject the description of Romania as a ?Balkan? country. This conflict has been contested through manele, a Romanian popular musical genre. In contrast, manele is seen by its detractors as too ?eastern? in character, an unwelcome reminder of earlier Balkan and Ottoman influences on Romanian culture.
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Moody, Ivan. "The Idea of Byzantium in the Construction of the Musical Cultures of the Balkans." Arts 9, no. 3 (July 26, 2020): 83. http://dx.doi.org/10.3390/arts9030083.

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In this article, I discuss the persistence of Byzantium as a cultural model in the arts, and in music in particular, in the countries of the Balkans after the fall of Constantinople. By examining ways in which the idea of Byzantium persisted in Balkan artistic cultures (and especially in music) after the fall of Byzantium, and the way in which this relates to the advent of modernism during the later construction of the Balkan nation-states, I illustrate not only the pervasiveness but also the strength of Byzantinism as a pan-Balkan characteristic.
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Pennanen, Risto. "Lost in scales: Balkan folk music research and the ottoman legacy." Muzikologija, no. 8 (2008): 127–47. http://dx.doi.org/10.2298/muz0808127p.

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Balkan folk music researchers have articulated various views on what they have considered Oriental or Turkish musical legacy. The discourses the article analyses are nationalism, Orientalism, Occidentalism and Balkanism. Scholars have handled the awkward Ottoman issue in several manners: They have represented 'Oriental' musical characteristics as domestic, claimed that Ottoman Turks merely imitated Arab and Persian culture, and viewed Indian classical raga scales as sources for Oriental scales in the Balkans. In addition, some scholars have viewed the 'Oriental' characteristics as stemming from ancient Greece. The treatment of the Seg?h family of Ottoman makams in theories and analyses reveals several features of folk music research in the Balkans, the most important of which are the use of Western concepts and the exclusive dependence on printed sources. The strategies for handling the Orient within have meandered between Occidentalism and Orientalism, creating an ambiguity which is called Balkanism.
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Archer, Rory. "Assessing Turbofolk Controversies: Popular Music between the Nation and the Balkans." Southeastern Europe 36, no. 2 (2012): 178–207. http://dx.doi.org/10.1163/187633312x642103.

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This article explores controversies provoked by the Serbian pop-folk musical style “turbofolk” which emerged in the 1990s. Turbofolk has been accused of being a lever of the Milošević regime – an inherently nationalist cultural phenomenon which developed due to the specific socio-political conditions of Serbia in the 1990s. In addition to criticism of turbofolk on the basis of nationalism and war-mongering, it is commonly claimed to be “trash,” “banal,” “pornographic,” “(semi-)rural,” “oriental” and “Balkan.” In order to better understand the socio-political dimensions of this phenomenon, I consider other Yugoslav musical styles which predate turbofolk and make reference to pop-folk musical controversies in other Balkan states to help inform upon the issues at stake with regard to turbofolk. I argue that rather than being understood as a singular phenomena specific to Serbia under Milošević, turbofolk can be understood as a Serbian manifestation of a Balkan-wide post-socialist trend. Balkan pop-folk styles can be understood as occupying a liminal space – an Ottoman cultural legacy – located between (and often in conflict with) the imagined political poles of liberal pro-European and conservative nationalist orientations. Understanding turbofolk as a value category imbued with symbolic meaning rather than a clear cut musical genre, I link discussions of it to the wider discourse of Balkanism. Turbofolk and other pop-folk styles are commonly imagined and articulated in terms of violence, eroticism, barbarity and otherness the Balkan stereotype promises. These pop-folk styles form a frame of reference often used as a discursive means of marginalisation or exclusion. An eastern “other” is represented locally by pop-folk performers due to oriental stylistics in their music and/or ethnic minority origins. For detractors, pop-folk styles pose a danger to the autochthonous national culture as well as the possibility of a “European” and cosmopolitan future. Correspondingly I demonstrate that such Balkan stereotypes are invoked and subverted by many turbofolk performers who positively mark alleged Balkan characteristics and negotiate and invert the meaning of “Balkan” in lyrical texts.
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Samson, Jim. "Borders and bridges: Preliminary thoughts on Balkan music." Muzikologija, no. 5 (2005): 37–55. http://dx.doi.org/10.2298/muz0505037s.

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The author discusses methodological questions concerning his broad research project on music in the Balkans. He raises a number of questions related to defining national, cultural, and other identities in this region. The text is organized into four sections: 1. An ecumene, 2. Culture as appropriation 3. Centers and peripheries, and 4. Music gets its own back.
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Zdravkova Djeparoska, Sonja. "Macedonian Cultural Plurality at the Crossroads of the Balkans: Drama, Music and Dance." Arts 9, no. 3 (July 30, 2020): 85. http://dx.doi.org/10.3390/arts9030085.

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Defining the Balkans as a geographic, cultural and semantic entity triggers an interpretation of them as some idea, concept, oftentimes even a stereotype. The Balkans are usually interpreted as a singular entity, generalized and set in a single framework. That generalized view is often ambivalent. The Balkans are often interpreted and presented as a ‘powder keg’, a ‘bridge between the East and the West’, a part of Europe that is simply different, a place of strong emotions and attractive forms of music and dance, etc. However, the Balkans represent a set of cultural units that are in constant interaction, with each of the cultures of the Balkans being specific and authentic. Macedonia, as one of the pages of the ‘Balkan story’, will be presented at three levels—regarding its drama, music and dance. The specific characteristics of the music and the dance fields will be presented through their most significant features and examples, and the treatment of the topic of the Balkans in Macedonian drama will be covered as well. The analysis confirms that generalization is impossible even within a single culture, as each artist and medium of performance has its own unique expression. The cultural forms of Macedonian culture are only part of the wider pluralistic representation of the Balkans. It may be offered under the Balkans as the common denominator, but the truth is that this/representation/concept is polyvalent, multicultural, polysemic and extremely rich.
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Dissertations / Theses on the topic ""balkan music""

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Sun, Jiaqi. "The Mediant Relations in Amy Beach's Variations on Balkan Themes, Op. 60." Kent State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=kent1588667237229412.

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Curry, Jane. "Balkan Ecumene and Synthesis in Selected Compositions for Classical Guitar by Dusan Bogdanovic, Nikos Mamangakis and Ian Krouse." Diss., The University of Arizona, 2010. http://hdl.handle.net/10150/195587.

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Ecumene is a word describing the collective traditions and influence of a geographically and historically recognizable culture; in this study, the inhabitants of the Balkan region. In compositions by Dusan Bogdanovic (b.1955), Nikos Mamangakis (b. 1929) and Ian Krouse (b.1956), Balkan ecumene can be heard shaping modern repertoire for the classical guitar. In this study, relevant geography is first outlined, followed by a detailed investigation of how specific Balkan rhythms, melodies, and harmonies are used in selected works by these composers. The works are: Six Balkan Miniatures by Bogdanovic;, Hassapiko and Tsifteteli from Folk Dance Suite by Mamangakis, and Variations on a Moldavian Hora by Krouse. An exploration of other academic study into musical synthesis gives context to the blending of Eastern European folk music and Western classical art music found here.
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Backovic, Jovana. "Between two worlds : approaching Balkan oral music tradition through the use of technology as a compositional and performing medium." Thesis, University of East Anglia, 2014. https://ueaeprints.uea.ac.uk/53400/.

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This text explores the problems of interpreting musical identity, meaning, and sociocultural value of a compositional work influenced by two traditions with different values: the modernist tradition based on Western European classical heritage, and the oral tradition of the Balkans. It also follows the process of transformation and recreation of the author's musical language: from classical, notation-oriented to a more intuitive, improvisational and live-performance based. Through detailing some of the experiences of the author as a composer and a performer, it also discusses some observations on the ways in which this discrepancy between two traditions and practices has affected and still influences those creative practices in Serbia and the former Yugoslavia that relate to traditional music and its derivations. By identifying musical performance within certain socio-cultural contexts this dichotomy can be highlighted. As a result, a substantial part of this text focuses on investigating the capacity of a technologically assisted composition and performance practice to overcome this issue. Technology is here perceived not only as an instrument for recording, improvising, composing and performing but also as a medium which communicates musical value. In this study, the oral tradition from the Balkans was approached not only as a purely acoustic phenomenon, but it also included a raised awareness of the nature of the continuous fusion of various cultures in the region, as well as existing cultural and religious antagonisms. This study investigates the problems of constructing musical identity as well as the meaning of an author’s creative practice in relation to the socio-cultural environment of its origin, whilst observing its reception by audiences outside the Balkan region. Socio-cultural environments are established through exploring the writings of the authors that depict the Balkans historical, cultural and musical spheres in relation to other cultural practices and influences.
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Ignatidou, Artemis. "Four short (hi)stories of a 19th century Greek-European musical interaction, and the cultural outcomes thereof." Thesis, Brunel University, 2017. http://bura.brunel.ac.uk/handle/2438/16094.

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The thesis investigates the impact of western art music ('classical') upon the construction of Greek-European identity in the 19th century. Through the examination of institutions such as the Theatre of Athens that hosted the Italian opera for the better part of the 19th century, the Conservatory of Athens (1873), the Conservatory of Thessaloniki (1914), various 19th century literary societies, press content, scores, publications on music, and state regulations on education, the thesis utilizes both musical, as well as extra-musical material to construct a cultural and social history of Greece's understanding of the 'European' in relation to local Greek society through music between 1840 and 1914. At the same time, it highlights the importance of transnational institutional and interpersonal musical networks between Greece and Europe (mainly England, France, and Germany), to demonstrate how political and aesthetic preferences influenced long-term policy, cultural practice, and musical tradition. While examining the 19th century diplomatic, political, and cultural practices of the expanding 19th century Greek Kingdom, the thesis traces the development of western musical taste and practice in Balkan Greece in relation to the local modernizing society. It highlights the importance of local and European artistic agents and networks, identifies the tension between the projection of European identity and raw acoustic divergence, argues for about the contribution of music to the construction of Greek-European identity, and examines the cultural and political negotiations about the conflicting relationship between Byzantine-Hellenic-European-Modern Greek, as expressed through music and debates on music. The last part of the thesis assembles the 19th century material to explain the relationship between nationalism and musical practice at the turn of the 20th century, and as such the long-term influence of western art music upon the construction of Greek-European national identity.
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Hansson, Anna. "Balans i bas och kropp : En basists sittställning och hur det påverkar ljudet." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2788.

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Ett arbete om att din sittställning kan påverka ljudet du producerar. En studie i hur basister sitter och använder kroppen. Hur du arbetar med din kontrabas utan att skada kroppen.
About your seating position and how to produce sound. A study of how double basists use their bodies and how to play double bass without injuring your body.

G. Bottesini "Elegy no.3". Pianist Erik Lanninger

A. Vivaldi "Cello sonata no.3 in A-minor" Cembalo Anna Paradiso

A. Pärt "Spiegel im Spiegel". Pianist Erik Lanninger

E. Bloch "The Prayer" från "Jewish Life". Pianist Helena Hansson

G. Bottesini "Concerto for Double Bass and Orchestra no.2 in B-minor". Violin Lina Samuelsson, Lisa Chenevier, viola Doris Mägi, cello Viktoria Hillerhud, kontrabas Jennifer Downing Olsson. 

I tillhörande video förekommer Prayer av Bloch och Elegy av Bottesini. Medverkar gör Helena Hansson och Erik Lanninger.

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Olson, Ted. "Big Bend Killing: The Appalachian Ballad Tradition." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu_books/135.

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The Appalachian ballad tradition is alive among a new generation of singers, most of whom learned their songs directly from an oral tradition, either from older singers, or from recordings, or both. This two-disk album — a project in support of Great Smoky Mountains National Park — brings these powerful songs to people who might never have bought a recording or gone to a concert to hear these musicians. They will be delighted with the variety of music here, from the Old World as well as the New. Below is a list of a few of the tracks you can hear:Disc One"Barbry Allen" (Carol Elizabeth Jones), "Thomas the Rhymer" (Archie Fisher), "Lord Thomas and Fair Ellender" (Sheila Kay Adams), "Eggs And Marrowbone" (Jody Stecher and Kate Brislin), "The Sheffield Apprentice" (Martin Simpson, Andy Cutting, and Nancy Kerr), , "The Bold Lieutenant" (Alice Gerrard), "Lord Bateman" (Carol Elizabeth Jones), "The Farmer’s Curst Wife" (Donna Ray Norton), "Mr. Frog Went a-Courtin'" (Bill and the Belles), "Barbara Allen" (Rosanne Cash)
https://dc.etsu.edu/etsu_books/1159/thumbnail.jpg
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Witkowski, Brian Charles. "Carl Loewe's "Gregor auf dem Stein": A Precursor to Late German Romanticism." Diss., The University of Arizona, 2011. http://hdl.handle.net/10150/217070.

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Carl Loewe (1796-1869) was a prolific composer of works for voice and piano with an output exceeding 400 pieces. Just as Schubert pioneered Lieder as a new genre of art music in the nineteenth century, Loewe can be credited for his comparable innovation with the ballad, a narrative song that depicts a story. Though Loewe is often considered a conservative musical figure in the nineteenth century, later romantic composers like Richard Wagner and Hugo Wolf held his ballads in high regard, as they show Loewe's compositional originality in boldly producing drama through the piano-singer format. This document displays how Loewe in his ballad cycle Gregor auf dem Stein, Op. 38 (1834) creates a continuous musical drama to enhance a theological legend. This work is an example of how Loewe foreshadows aspects of later German Romanticism, more fully realized by Wagner and Wolf, through use of musical and dramatic continuity, progressive tonality, motives, and declamatory vocal style.
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Bumpus, Julie L. "Ballad Opera in England: Its Songs, Contributors, and Influence." Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1276055885.

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Smith, Jonathan Andrew. "Before dark, how distant the past." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1485801095348678.

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Olson, Ted S. "Songs that Tell a Story: Tracing the Passage of the Ballad Tradition from the British Isles to Appalachia." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etsu-works/5527.

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Books on the topic ""balkan music""

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Nada, Petković-Djordjević, ed. Balkan epic: Song, history, modernity. Lanham, Md: Scarecrow Press, 2011.

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Balkan fascination: Creating an alternative music culture in America. Oxford: Oxford University Press, 2007.

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Laušević, Mirjana. Balkan fascination: Creating an alternative music culture in America / Mirjana Laušević. New York: Oxford University Press, 2005.

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Romani routes : cultural politics and Balkan music in diaspora / Carol Silverman. New York: Oxford University Press, 2011.

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1943-, Blau Dick, Keil Angeliki V. 1936-, and Feld Steven, eds. Bright Balkan morning: Romani lives & the power of music in Greek Macedonia. Middletown, Conn: Wesleyan University Press, 2002.

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Balkan refrain: Form and tradition in European folk song. Lanham, Md: Scarecrow Press, 2009.

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Benary, Peter. Leise- aber deutlich: 100 Splitter und Balken zu Geschichte, Praxis und Theorie der Musik. Aarau, Schweiz: Musikedition Nepomuk, 1994.

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Balzac and music: Its place and meaning in his life and work. New York: Garland Pub., 1990.

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The rose & the briar: Death, love and liberty in the American ballad. New York: W.W. Norton, 2005.

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John, Gay. Beggar's opera. Studio City, CA: Players Press, 1994.

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Book chapters on the topic ""balkan music""

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Karamanić, Slobodan, and Manuela Unverdorben. "Balkan High, Balkan Low: Pop-Music Production Between Hybridity and Class Struggle." In Eastern European Popular Music in a Transnational Context, 155–70. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-17034-9_8.

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Ramet, Sabrina P. "Rock Music." In Balkan Babel, 127–49. Routledge, 2018. http://dx.doi.org/10.4324/9780429495403-7.

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"23 Balkan Beat." In Music in the Balkans, 595–615. BRILL, 2013. http://dx.doi.org/10.1163/9789004250383_025.

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"How Balkan Rock Went West." In Music in Motion, 233–52. transcript-Verlag, 2009. http://dx.doi.org/10.14361/9783839410745-013.

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Soffa, David. "Amalia Baka (1897–1979) 1." In Greek Music in America, 374–77. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496819703.003.0024.

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Amalia Baka was a Greek Romaniate Jew from Ioannina who settled in New York in 1912 and later converted to Orthodoxy.She became a famous singer, recording artist, and songwriter who gave live performances in Greek and Turkish clubs, café amans, restaurants, and resorts. Her recorded music also encompassed Greek and other Balkan music traditions, and she often sang with her daughter, Diamond.
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"3 Balkan Music Awards: Popular Music Industries in the Balkans between Already-Europe and Europe-To-Be." In Mirroring Europe, 39–63. BRILL, 2014. http://dx.doi.org/10.1163/9789004275089_004.

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"Global Balkan Gypsy Music: Issues of Migration, Appropriation, and Representation." In The Globalization of Musics in Transit, 197–220. Routledge, 2013. http://dx.doi.org/10.4324/9780203082911-18.

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Marković, Tatjana. "Balkan Music Historiography as Moving Back to the “National Roots” and “Authenticity”." In Die Rückkehr der Denkmäler, 107–16. Mille Tre, 2013. http://dx.doi.org/10.2307/j.ctvdjrntn.9.

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Silverman, Carol. "MUSIC, EMOTION, AND THE "OTHER" Balkan Roma and the Negotiation of Exoticism." In Interpreting Emotions in Russia and Eastern Europe, 224–47. Cornell University Press, 2011. http://dx.doi.org/10.1515/9781501757174-013.

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Liebman, Becky. "Praxis through HONK!" In Transforming Ethnomusicology Volume I, 101–9. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197517604.003.0007.

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This chapter traces the recent rise of activist street bands in the United States (mainly brass, woodwinds, and percussion—loud, lively, and mobile), and places them in an historical context, with specific attention to how bands across the country are experimenting to achieve the greatest social impact. In 2006, organizers in Somerville, Massachusetts, created the first festival for the gathering of activist street bands under the polysemic term “HONK!” They noted that bands honk their horns for the same reasons motorists honk: “to arouse fellow travelers, to warn of danger, to celebrate milestones, and to just plain have fun.” In the ensuing years, HONK! festivals quickly emerged in Seattle, New York, Providence, Austin, and Detroit. Participating bands draw from many musical traditions, including New Orleans, Balkan, Brazilian, and pop. Band members, generally amateurs, learn music aurally and/or through written music, allowing for a wide level of ability, often inspiring onlookers to play. Some bands have leaders; many are leaderless. In the public and digital commons, activist street bands attract attention. This chapter asks probing questions about whether they have an impact. What are the lessons learned about how best to partner with nonprofit organizations, NGOs, or campaigns to convey the desired messages? What significance do gender, ethnicity, and class have in these partnerships?
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Conference papers on the topic ""balkan music""

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Milicevic, D., D. Markusev, Lj Nesic, and G. Djordjevic. "The Complementary Teaching of Physics and Music Acoustics — The Science of Sound." In SIXTH INTERNATIONAL CONFERENCE OF THE BALKAN PHYSICAL UNION. AIP, 2007. http://dx.doi.org/10.1063/1.2733580.

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Yan, Lin, and Shan Hao. "Research on the Application of Guanzhong Ballad in Children’s Music Education*." In Proceedings of the 6th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/assehr.k.191217.107.

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AuthorsBudiono, FNU. "Kajian Budidaya Jagung (Zea mays L.) Pola “OpSiTongTif”." In Seminar Nasional Semanis Tani Polije 2020. Politeknik Negeri Jember, 2020. http://dx.doi.org/10.25047/agropross.2020.38.

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Kajian ini mencoba untuk mengimplementasikan konsep optimalisasi nutrisi, polinasi, disain tanam, dan harmonisasi pasar. Kaji widya ini membahas tentang manajemen pengelolaan nutrisi, optimalisasi tongkol dan polinasi, pengelolaan disain tanam dan terwujudnya pasar yang sehat dan harmonis. Data dikumpulkan dari data primer (hasil penelitian pendahuluan riset ke-1 hingga riset ke- 6) dan data sekunder . Data primer diperoleh dari hasil penelitian 1 (sinkronisasi waktu polinasi pada penanaman jagung beda waktu.) hingga penelitian ke-6 (optimalisasi mutu dan stabilisasi produksi). Data sekunder didukung dari data hasil jurnal, prosedding, makalah ilmiah dan teks buku tentang budidaya jagung, nutrisi, ZPT, Polinasi dan karakteristis tanaman Kelas Greamineae. Data pada kajian ke-7 menggunakan metode deskriptif siklus pertumbuhan dan perkembangan tanaman jagung pada beberapa waktu tanam yang berbeda umur 1, 2 hingga 3 minggu. Waktu penelitian pada tanggal 10 November 2018 hingga 10 April 2019 di Lahan Praktek Balai Besar Pelatihan Pertanian Binuang, Kelurahan Binuang Kecamatan Binuang Kabupaten Tapin, Propinsi Kalimantan Selatan. Penerapan teknologi budidaya tanaman jagung sesuai teknologi rekomendasi spesifik lokalita dengan modifikasi waktu tanam/disain tanam, perlakuan ZPT alami, dan pemupukan Suplemen Tanaman. Hasil dari kajian menunjukkan bahwa perlakuan nutrisi, pengaturan waktu tanam dan polinasi, sehingga terjadi sinkronisasi polinasi tanaman ke-1 dengan tanaman ke-2 mampu mewujudkan tanaman jagung bertongkol lebih dari 2, dengan sistem panen 3 kali yaitu panen baby corn, jagung muda dan jagung pipil/pakan. Produksi baby corn 325-450 Kg/Ha; 15.000-20.000 tongkol jagung muda/Ha ; dan hasil pipilan jagung kering 9,65 ton/Ha, Sistem buddiaya jagung pola OpSiTongTif mampu memberikan keuntungan usaha bagi petani sebesar Rp.26.750.000/Ha/musim dengan tingkat B/C ratio sebesar 1.68. Sistem ini juga mampu mengontrol harga jagung karena petani tidak produksi jagung pipil saja tapi menghasilkan baby corn dan jagung muda dengan distribusi produksi sepanjang tahun.
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