Academic literature on the topic 'Javanese Hymns'

<p>Abstract<br />The morals of life are often spoken and passed down by the ancestors in the form of songs accompanied by Javanese gamelan. It was intended to maintain the quality of the civilization of the coming regeneration. This study aims to describe the values of sublime speech values in the chants of songs sung by comedians of the ludruk arts in East Java. Using a qualitative case study type approach, the source of the data is in the form of widely published documents of the July-July hymns. Verbal data collected were analyzed descriptively-qualitatively. The results of the research show that the lines of the jula-juli hymn contain substance in various fields of life. As an example, the points of civility in the global era are presented, namely (1) nationalism, (2) heroism, (3) education, and (4) security, (5) economy, and (6) religion. From these findings it can be concluded that etiquette for life needs to be taught through oral literary arts, especially songs in jula-juli so that the dynamics of regeneration remain grounded and side with the identity of the ancestor's speech.</p><p>Keywords: nation's manners, songs, jula-juli ludruk</p>

One of the Javanese texts with esoteric value is the Ronggasutrasna Kidungan Fiber which is kept by the Surakarta Sastra Lestari Foundation. Serat Kidungan Ronggasutasna is a Javanese script in which there is a text in the form of fibers written by Sunan Kalijaga written together with Ronggasutrasna and then published by Tan Gun Swi. This manuscript is a compilation of a number of songs including Rumeksa Ing Wengi (KRIW), Padanghyangan Kidungan (and those of the dhedhemit ratuning), and other hymns. However, the KRIW text is not an original manuscript written by Sunan Kalijaga. This is evidenced by the existence of other KRIW texts in PNRI presented in handwriting. Serat Kidung Ranggasutrasna is the song of the 'kid' of old fibers which is a representation of esoteric values and Islamic symbolism of the spiritual messages of Kanjeng Sunan Kalijaga. After the authors examined the contents of the text, the authors concluded that most of the Ranggasutrasna's fiber of the Kidungan text contains the magic power plan in the form of spells of rebel, repellent witchcraft, sorcery, babysitting, escaping from the bondage of debt, self defense, war ethos, worship ethos, and treatment system in Javanese culture. Fiber Kidung Ranggasutrasna belongs to the piwulang script which is presented in the form of Javanese song.Keywords: Song of Ranggasutasna; esoteric; magical power; local wisdom. Intisari Salah satu naskah Jawa yang bernilai esoteris adalah Serat Kidungan Ronggasutrasna yang disimpan oleh Yayasan Sastra Lestari Surakarta. Serat Kidungan Ronggasutasna adalah sebuah naskah Jawa yang di dalamnya terdapat sebuah teks berbentuk serat hasil tulisan Sunan Kalijaga yang disusun bersama Ronggasutrasna dan kemudian diterbitkan oleh Tan Gun Swi. Naskah ini merupakan kompilasi dari beberapa kidungan yang di antaranya Kidungan Rumeksa Ing Wengi (KRIW), Kidungan Padanghyangan (danyanghyangan para ratuning dhedhemit), dan kidung-kidung lainnya. Namun teks KRIW bukan merupakan naskah asli tulisan Sunan Kalijaga. Hal ini dibuktikan dengan adanya teks KRIW lain dalam PNRI yang disajikan dalam tulisan tangan. Serat Kidung Ranggasutrasna merupakan nyanyian 'kidungan' serat kuna yang merupakan representasi nilai-nilai esoteris dan simbolisme Islam dari pesan-pesan spiritual Kanjeng Sunan Kalijaga. Setelah penulis meneliti isi teks, penulis menyimpulkan bahwa sebagian besar teks Serat Kidungan Ranggasutrasna berisi tentang piwulang kekuatan gaib yang berupa mantra-mantra tolak balak, penolak santet, tenung, penjaga bayi, kluar dari belenggu hutang, bela diri, etos perang, etos ibadah, dan sistem pengobatan dalam budaya Jawa. Serat Kidung Ranggasutrasna tergolong ke dalam naskah piwulang yang disajikan dalam bentuk tembang Jawa.Kata kunci: Kidung Ranggasutasna; esoteris; kekuatan gaib; kearifan lokal.

This article focuses on how Gereja Baptis Indonesia (GBI) Ngembak Semarang used Gamelan and a hymn they sang at worship on Sunday, 24th September 2017, namely Ku Suka Mengabarkan. Based on how GBI has been using Gamelan and by analyzing lyrics of Ku Suka Mengabarkan, this article shows that the Church does not only partake in preserving local Javanise traditional music but also nurture her members by singing hymns that their lyrics could affect their spirituality formating.

This paper presents the principles of language propriety in Javanese. The principles presented here cover the speech components offered by Hymes. It discusses how an individual or P1 should behave as a participant in the social network in general and how one should do when engaging in a conversation with an interlocutor (P1 to P2). The discussion also points out what topic and aim of speech should be expressed and with what means of communication one should express it (S, E and I), how should the genre and the speech act be, how are the sentences to be expressed, and what words are to be used or to be avoided to suit the mood of the speech (G, A, and K). Furthermore, the paper also displays how the speech should be uttered and enunciated and how a person should handle his physical gestures to accompany the speech act (a part of N). Some key terms of language propriety in Javanese presented here are ramah, sabar, tepa slira, hormat, empan papan, nujuprana, and subasitaa.Keywords: propriety, Javanese, speech

The Old Javanese language has experienced a long journey. This journey can be seen from several manuscripts that have been found. Javanese language shows a development of language from time to time. This shows that in the Old Javanese language and in the Old Javanese manuscripts there is a history. It is very important for the study of past Indonesian culture. The aim of this research is to get an overview of the development of the language stored in drama manuscripts from time to time as well as an overview of the history of the language and manuscripts as depicted in the discovered manuscripts. There are three periodization of Javanese language. Each periodization left manuscripts preserved in various places. In the manuscripts, there is also a historical background that we can see to this day. For example, the Ramayana kakawin left historical traces in the form of reliefs of Prambanan Temple that took stories from the Ramayana. This shows that the Ramayana in the past was a story that was very popular and appreciated. During the Central Java period, a type of literary work emerged that was colored with elements that were often referred to as kidung. Various materials of this hymn still take from Indian stories, but nevertheless have undergone modifications. Because of their vastness and long distances, the current manuscripts require a rescue conservation.

This study attempts to reveal meaning of symbols embedded in lyrics of shalawat songs by utilizing semiotics perspective. So far, sholawat is considered as hymne to remind human to God but there is no research about meaning of javanese sholawat songs. This study employs qualitative method to describe the analysis. The analyzed data is based on literature review of the lyrics of sholawat songs. The obtained data is analyzed in semiotic perspective structurally. The result shows us that semiotics is able to reveal meaning of lyrics of javanese sholawat songs. In addition, the results elaborates that lyrics of javanese sholawat songs refer to values of humanity and message of life.

<p>ABSTRACT<br />Novel “Ibuk” which was written in Indoesian language tends to use local language particularly Javanese. The javanese exists in the Indonesian written novel is the writer‟s style. It shows the uniqueness of Novel itself which was written by iwan Setyawan. This article aims at describing elements of javanese in applying Indonesian Language. This article employs descriptive qualitative method, which is describing javanese elements in the novel. The theory of SPEAKING Hymes (1972) was employed to analize the data. The finding shows that there are japanese language in the novel Ibuk include nasalisation, repeated words, root words, and sentences.<br />ABSTRAK<br />Bahasa Indonesia yang digunakan dalam novel Ibuk ada kecenderungan menggunakan bahasa daerah khususnya bahasa Jawa. Bahasa Jawa yang muncul dalam novel yang berbahasa Indonesia itu merupakan ciri dan gaya penulisnya. Hal itu merupakan keunikan novel Ibuk karya Iwan Setyawan. Tujuan penulisan ini adalah untuk mendeskripsikan unsur-unsur bahasa Jawa dalam pemakaian bahasa Indonesia. Metode penulisan ini adalah metode deskriptif kualitatif yaitu mendeskripsikan unsur-unsur bahasa Jawa dalam pemakaian bahasa Indonesia novel tersebut. Adapun teori yang dipakai untuk mendeskripsikan pemakaian bahasa Jawa mengacu pada teori SPEAKING Hymes (1972). Hasil analisis menunjukkan bahwa terdapat pemakaian bahasa Jawa dalam bahasa Indonesia novel Ibuk meliputi bentuk nasalisasi, kata ulang, kata dasar, dan kalimat.<br />Kata Kunci: Nasalisasi, Kata Ulang, Kata Dasar, Kalimat</p>

The purpose of the research is to describe code choice and code mixing in the interaction of learning English in Agriculture Faculty University of Trunojoyo Madura. The reseach data included the code switching and code mixing of Agriculture students when learning English in the classroom. The data analysis use a contextual approach of Speaking by Dell Hymes. The result of the research showed that code switching used by the students in the Faculty of Agriculture, namely English and Indonesia, switching codes from English into Indonesia and vice versa, meanwhile code mixing from English into Inonesia, and mixed Indonesia into Javanese, mixed Javanese into English.

This research aims to find out Javanese form and its relationship between locutor and interlocutor. This research is qualitative in nature. The location of this research is in the Surakarta Hadiningrat palace. The language variation used in this research is daily activity and official palace ceremonies. The data are derived from the verbal interaction among society of kraton in formal and informal situation. The data were collected by recording, observing, interviewing technique. The analysis data used Hymes, ethnography method communication. The result of the research shows that the Javanese forms consists of <em>ngoko, madya, krama, krama inggil, kedhaton</em> and even Indonesian. Related to the relation between locator and interlocutor, the form of Javanese affected by the horizontal and vertical relation accordance with social status in the palace. The pattern of using <em>ngoko, madya, krama</em> has changed, moreover when Indonesian has been their repertoire.

Keris is one of the cultural products in the form of a dagger originating from Java. Keris is still made today as can be seen in Besalen Buwana Aji Kalingga which is owned by Empu Afrizal Fadli Azizi, S.Kom.I. He uses various processions including uttering mantras containing cultural meaning that form a series of verbal and non-verbal communication patterns. This attracts researchers to examine the patterns more deeply through an ethnography of communication approach to analyze the forms and patterns of communication that occur in the ageman kerises making process in Besalen Buwana Aji Kalingga. The descriptive qualitative study was conducted using the theory of communication patterns from Dell Hymes. The researcher found that prayers and mantras in the ageman kerises making process have a distinctive communication pattern, greeting-thankful-begging for a prayer at the wiwitan stage and greeting-declaration at the pembabaran stage. Furthermore, there is assimilation between Arabic and Javanese, a characteristic of the register of spelling language in Javanese culture. This happened because of the efforts to spread and introduce Islam in the past. Now, it has become a tradition in Javanese culture.