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Academic literature on the topic 'Khasi Songs'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2024

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Journal articles on the topic "Khasi Songs"

1

Chatterjee, Sebanti. "Performing Bollywood Broadway: Shillong Chamber Choir as Bollywood’s Other." Society and Culture in South Asia 6, no. 2 (July 2020): 304–27. http://dx.doi.org/10.1177/2393861720923812.

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This article attempts to explore the performativity that surrounds choral music in contemporary India. 1 1 Choral music was discovered in Western civilization and Christianity. As a starting point, it had the Gregorian reforms of the 6th century. Choir primarily refers to a vocal ensemble practising sacred music inside church settings as opposed to chorus which indicates vocal ensembles performing in secular environments. Multiple singers rendered sacred polyphony 1430 onwards. By the end of the century a standardized four-part range of three octaves or more became a feature. The vocal parts were called superius (later, soprano), altus, tenor (from its function of ‘holding’ the cantus-firmus) and bassus (Unger 2010, 2–3). Moving beyond its religious functions, the Shillong Chamber Choir locates itself within various sounds. Hailing from Meghalaya in the north- eastern part of India, the Shillong Chamber Choir has many folksy and original compositions in languages such as Khasi, Nagamese, Assamese and Malayalam. However, what brought them national fame was the Bollywoodisation 2 2 Bollywood refers to the South Asian film industry situated in Mumbai. The term also includes its film music and scores. of the choir. With its win in the reality TV Show, India’s Got Talent 3 3 India’s Got Talent is a reality TV series on Colors television network founded by Sakib Zakir Ahmed, part of Global British Got Talent franchise. in 2010, the Shillong Chamber Choir introduced two things to the Indian sound-scape—reproducing and inhabiting the Bollywood sound within a choral structure, and introducing to the Indian audience a medley of songs that could be termed ‘popular’, but which ultimately acquired a more eclectic framework. Medley is explored as a genre. The purpose of this article is to understand how ‘Bollywood Broadway’ is the mode through which choral renditions and more mainstream forms of entertainment are coming together.
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2

Kusmana, Resti Fauziah. "Tembang Sunda Cianjuran: Struktur dan Semiotik." Alinea: Jurnal Bahasa, Sastra, dan Pengajaran 8, no. 2 (October 30, 2019): 68. http://dx.doi.org/10.35194/alinea.v8i2.437.

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Tembang Sunda Cianjuran merupakan suatu kesenian khas Cianjur yang penuh makna. Penelitian dilaksanakan dengan metode deskripstif, pengumpulan data menggunakan studi pustaka, dokumentasi, dan wawancara. Data yang dianalisis dua teks tembang Sunda Cianjuran yaitu tembang papatat (TSC 01) dan pangapungan (TSC 02). Dari hasi penelitian diperoleh simpulan bahwa struktur fisik; terdapat lima macam diksi; pengimajian dalam kedua tembang beruppa pengimajian visual; kata konkret pada kedua tembang ada enam, masing-masing tembang memiliki tiga kata konkret; terdapat dua majas, yaitu majas personifikasi pada TSC 01 dan majas hiperbola pada TSC 02; rima yang sering muncul yaitu rima aliterasi, asonansi, serta gabungan rima aliterasi dan asonansi; dan tata wajah, dari kedua tembang jika dilihat dari aturan barisnya mempunyai kesamaan yaitu sama-sama terdiri dari delapan baris, kata-kata yang disusun membentuk suatu kesatuan yang padu. Cianjuran Sundanese song is a typical art of Cianjur which is full of meaning and value. The method used in this research was descriptive with data collection techniques in the form of literature review, documentation and interviews. The data analyzed were two Sundanese Cianjuran texts, namely song Papatat (TSC 01) and Pangapungan (TSC 02). The results of the research reveals conclusion of their structures; diction found were five dictions; the images from the two songs are visual images; concrete words in the two songs, there are six concrete words, and each song has three concrete words. figurative language, there are two forms, namely personification form on TSC 01 and hyperbole form on TSC 02; alliterations that often arise are alliteration rhyme, asonance, and combination of alliteration rhyme and asonance typhography, viewed from the lining rules, the two song texts have similarity, they consist of eight lines, words were arranged in harmony.Kata Kunci: Cianjuran, Sunda, tembang
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3

Shrestha, Tara Lal, Bidhya Shrestha, Dipankar Senehang, and Bibechana Sharma Timsina. "Pathetic Predicament and Resistance of the Subaltern in Trishna Gurung’s Selected Songs." International Research Journal of MMC 2, no. 3 (October 3, 2021): 41–54. http://dx.doi.org/10.3126/irjmmc.v2i3.40083.

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This article overviews the distress situation of the Nepalese ethnic subaltern concerning Trishna Gurung’s five selected songs- “Sajha Ko Bela”, “Gainey Dajai”, “Khani Ho Yahmu”, “Rail Lai Ma” and “Maya Man Bhari” and explores how the aesthetic expression and the pathetic predicament of the subaltern come to be a subtle form of resistance. Her songs hold the spirit of remoteness and auratic root and counter the western musical hegemonic propensity and the dominant music culture of Nepal. Articulating subaltern sighs as a major concern of her songs in the auditory and visual representation she presents the repressed aesthetics as a constructive and creative space formation for the resistance.
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4

Suprayitno, Joko, and Ayub Prasetiyo. "ANALISIS STRUKTUR MUSIKOLOGIS ARANSEMEN LAGU O INA NI KEKE UNTUK ORKESTRA." Gondang: Jurnal Seni dan Budaya 5, no. 2 (December 2, 2021): 249. http://dx.doi.org/10.24114/gondang.v5i2.28890.

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AbstrakIndonesia memiliki kekayaan lagu rakyat yang beragam sesuai keberadaan suku-suku yang tersebar dari Sabang sampai Merauke. Warisan budaya yang tak ternilai ini tidak hanya perlu dilestarikan, tapi juga diberi langkah strategis agar dapat berkembang dan dikenal lebih jauh. Dalam konteks ini, O Ina Ni Keke, sebuah lagu rakyat dari Sulawesi Utara, telah menjadi repertoar standar orkestra yang mendunia. Penelitian ini bertujuan mengetahui bagaimana komposisi struktur musikal yang diciptakan oleh Joko suprayitno untuk lagu sederhana khas lagu rakyat seperti O Ina Ni Keke mengubah lagu tersebut menjadi kelindan melodi, harmoni, tekstur, dan struktur elemen musikal lainnya dan pada akhirnya menjadi sebuah karya yang pernah dimainkan oleh Shanghai Philharmonic Orchestra. Penelitian ini menggunakan metode penelitian kualitatif dengan paparan deskriptif. Proses analisis menggunakan analisis teoretis musikologis atas bentukan struktur elemen musikal dalam aransemen lagu O Ina Ni Keke. Pendalaman proses analisis akan ditunjang oleh sumber-sumber tertulis seperti buku-buku komposisi musik dan juga notasi atau score hasil aransemen sebagai data pokok dalam proses analisis. Penelitian ini menemukan penggunaan variasi melodi kontrapungtal, penempatan melodi pokok di hampir semua instrumen musik yang memunculkan karakter bunyi yang berbeda-beda, dan penggunaan teknik pedal point.AbstractIndonesia has a wealth of folk songs that vary according to the existence of tribes that spread from Sabang to Merauke. This valueless cultural heritage should not only be preserved but also need strategic steps to strive for it to develop and be known further. From a folk song from North Sulawesi to a global standard orchestra repertoire. This study aims to find out how to composed the musical structure of simple songs typical of folk songs such as the song O Ina Ni Keke by Joko Suprayitno into a combination of melodies, harmonies, textures and other musical elements into a masterpiece that was once played by the Shanghai Philharmonic Orchestra during a concert at the Shanghai Philharmonic Orchestra. Simfonia Hall Jakarta in the framework of the Fundraising Concert for Palu & Donggala Tsunami Victims. This research uses qualitative research with descriptive exposure. The analysis process uses musicological theoretical analysis of the formation of musical elements in the arrangement of the song O Ina Ni Keke. The deepening of the analysis process will be supported by written sources such as music composition books and of course the notation or score of the arrangement as the main data in the analysis process. The results of the study found that the use of contrapuntal melody variations, the placement of the main melody in almost all instruments gave rise to different characters, and the use of the pedal point technique
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Fikri, Mohammad Tsaqibul, and Zulkarnain Mistortoify. "PROSPEL: KEMUNCULANNYA PADA MUSIK KERONCONG." Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni 12, no. 2 (July 16, 2019): 51–61. http://dx.doi.org/10.33153/dewaruci.v12i2.2527.

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ABSTRAKTulisan dalam jurnal ini merupakan salah satu bagian dari pembahasan penelitian tesis dengan judul “Prospel: Wujud, Eksistensi dan Peranannyadalam musik keroncong” oleh penulis dan sebagai bagian dari ujian akhir magister.Fokus kajian tulisan ini adalah kemunculan prospel pada lagu keroncong. Prospel merupakan salah satu fenomena musikal sebagai pembuka lagu keroncong yang diduga muncul karena adaptasi dari repertoar komposisi musik Barat. Persentuhan dengan komposisi musik Barat tersebut tidak lepas dari pengaruh Belanda pada saat melakukan ekspansi di Nusantara. Adaptasi tersebut kemudian menjadi sebuah fenomena yang berkembang dan bertahan pada lagu-lagu keroncong hingga sampai saat ini.Prospel kemudian menjadi salah satuciri khas dalam musik keroncong.Kata kunci: kemunculan, pembuka lagu, adaptasi, ciri khas.ABSTRACTThe journal is one part of the discussion of the research thesis entitled “Prospel: Being, Existence and His Role in Keroncong” by writer and as part of the final exam master. The case of studies is the emergence prospel article on keroncong. Prospel is one of the musical phenomenon as the opening song kroncong in my prediction emerged as an adaptation of the repertoire of Western music composition. Exposure to Western music composition could not be separated from the Dutch influence at the time of expansion in the archipelago. These adaptations became a phenomenon to grow and survive in songs Keroncong until today. Prospel later became one characteristic in keroncong music.Keywords: appearance, the opening song, adaptation, characteristic.
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6

Trương Thị Tuyết Nương. "Giáo dục khai phóng ứng dụng tại Việt Nam." Journal of Science and Technology 2, no. 3 (January 29, 2024): 76–80. http://dx.doi.org/10.55401/r2pwqf37.

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Bài viết này tập trung vào khái niệm Giáo dục khai phóng là một phương thức học và nâng cao năng lực cá nhân và đáp ứng được với các tình huống phức tạp, đa dạng và thay đổi. Nó cung cấp cho sinh viên kiến thức trong nhiều lĩnh vực như là khoa học, văn hóa và xã hội, song song với việc nghiên cứu bề sâu trong một lĩnh vực đặc biệt mà sinh viên quan tâm. Giáo dục khai phóng giúp sinh viên phát triển ý thức trách nhiệm, cũng như các kĩ năng tri thức và thực hành mạnh mẽ và có thể chuyển giao được, như kĩ năng giao tiếp, phân tích và giải quyết vấn đề với một năng lực đã được chứng minh bằng cách áp dụng kiến thức và kĩ năng trong những hoàn cảnh của thế giới thật… Cũng vậy, qua sưu tầm tư liệu, cho thấy được lịch sử lâu đời của Giáo dục khai phóng trên thế giới và tại Việt Nam. Sau cùng, bài viết này tìm hiểu sự ứng dụng Giáo dục khai phóng tại Việt Nam hiện nay và rút ra những mặt còn hạn chế, để từ đó tìm ra giải pháp thay đổi tích cực…
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7

Iswanto, I., Viktor J. Arnold, Jefri Kabnani, and Triati Salau. "<p>Kajian Antropolinguistik Bentuk Lingual <em>Umbu</em> dalam Nyanyian Tidur &ldquo;<em>Ille Le&rdquo;</em> pada Masyarakat Melolo, Kabupaten Sumba Timur, Nusa Tenggara Timur (<em>Antropholinguistic Study Word "Umbu‟ in Sleeping Song &ldquo;Ille Le&rdquo; at the Melolo Community, East Sumba, East Nusa Tenggara</em>)</p>." Jalabahasa 17, no. 2 (November 30, 2021): 179–91. http://dx.doi.org/10.36567/jalabahasa.v17i2.768.

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Antropolinguistik menempatkan bahasa sebagai kajian utama dan keberadaannya dalam berbagai aspek kebahasaan. Jika dalil tersebut digunakan, lirik sebagai aspek kebahasaan bergayut dengan musikalitas nyanyian “Ille Le” ‗nyanyian tidur‘ masyarakat Melolo. Secara lebih spesifik ditetapkan masalah dalam penelitian ini yaitu bagaimana kajian antropolinguistik bentuk lingual umbu nyanyian tidur “Ille Le” pada masyarakat Melolo, Nusa Tenggara Timur. Berdasarkan kajian pustaka diperoleh research gap yaitu penelitian spesifik antropolinguitik kajian nyanyian budaya. Teori yang digunakan dalam penelitian ini ialah semiotik kognitif berdasarkan prinsip semiotik de Saussure. Metode penelitian menggunakan ancangan kualitatif dengan pendekatan fenomenologi.. Hasil penelitian 1) lirik patriarkat terlihat dalam struktur syair “Ille Le” pada kata umbu ‗anak laki-laki‘; 2) lirik ini dinyanyikan berulang dalam ambitus nada pentatonik. Nyanyian “Ille Le” menceritakan kehidupan masyarakat Melolo pada seorang bayi laki-laki „umbu‟.. Kebaruan dalam penelitian ini yaitu kajian antropolinguistik yang berkaitan dengan lirik nyanyian budaya. Bentuk lingual yang khas tidak dapat dipisahkan dari bentuk musikalnya. Anthropolinguistics places language as the main study and its existence in various aspects of language. Anthropolinguistics in this study relates to the lyrics and musicality of the song “Ille Le” „sleep song‟ of the people of Melolo, East Nusa Tenggara. The problem in this research is how the anthropolinguistic study of patriarchal lyrics in „“Ille Le”‟ sleep songs in the Melolo community, East Sumba Regency, East Nusa Tenggara. Based on the literature review, it was obtained research gap are specific anthropolinguistic research on cultural singing studies. The song „“Ille Le”‟ can be grouped into oral literature, the linguistic aspect is influenced by a unique ethnic music style. The theory used in this research is cognitive semiotics based on de Saussure semiotics. The research method used a qualitative design with a fenomenology approach. The results of the study 1) patriarchal lyrics can be seen in the poetry structure “Ille Le” in the word umbu 'boys'; 2) these lyrics are sung over and over in ambitus pentatonic tones. The song “Ille Le” seeks the life of the Melolo community in a baby boy 'umbu'. The distinctive lingual form cannot be separated from the musical form.
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8

Millatin, Afiin Fitri. "KARAKTERISTIK POLA IRINGAN GRUP MUSIK REBANA AL-ISTIQOMAH KABUPATEN KEBUMEN." Imaji 18, no. 1 (March 30, 2020): 79–89. http://dx.doi.org/10.21831/imaji.v18i1.31651.

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Perkembangan musik rebana di Indonesia khususnya di tanah Jawa mulai menjadi tradisi lokal yang dilestarikan. Setiap daerah atau kabupaten memiliki ciri khas masing-masing dalam segi permainan alat musik rebana. Grup rebana Al-Istiqomah merupakan sebuah kelompok musik yang menyajikan pertunjukan musik islami khususnya kesenian rebana. Seiring berkembangnya zaman supaya lebih diminati masyarakat, pelatih grup rebana Al-Istiqomah mengaransemen lagu-lagu yang dimainkan serta membuat beberapa variasi pada pola iringan rebana supaya lebih diingat masyarakat dan menjadi ciri khas grup rebana Al-Istiqomah. Penelitian ini menggunakan pendekatan kualitatif deskriptif. Sumber data berasal dari observasi, wawancara, dan dokumentasi. Hasil penelitian karakteristik pola iringan rebana terdapat beberapa variasi pola iringan pada instrumen genjring A,B,C serta variasi pola iringan alat musik rebana pada intro, tema lagu, interlude, dan coda.Kata Kunci: Karakteristik, Pola Iringan, Rebana AbstractThe development of rebana music in Indonesia especially in Java began to become a preserved local tradition. Each region or district has its own characteristics in terms of playing a rebana musical instrument. Al-Istiqomah rebana group is a music group that presents Islamic musical performances, especially rebana art. As the times evolved to be more attractive to the public, the coach of the Al-Istiqomah rebana group arranged the songs that were played and made several variations on the rebana accompaniment pattern to make them more memorable to the public and became a hallmark of the Al-Istiqomah rebana group. This research uses a descriptive qualitative approach. Data sources come from observations, interviews, and documentation. The results of the research on the characteristics of rebana accompaniment patterns there are several variations of accompaniment patterns on the genjring instruments A, B, C as well as variations of rebana accompaniment patterns on the intro, theme song, interlude, and coda.Keywords : Characteristic, Accompaniement pattern, Rebana
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Handini, Retno, and Harry Widianto. "Song Keplek: Okupasi Intensif Manusia Pada Periode Pasca-Plestosen Di Gunung Sewu." Berkala Arkeologi 18, no. 2 (November 11, 1998): 72–91. http://dx.doi.org/10.30883/jba.v18i2.785.

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Song Keplek merupakan sebuah gua (cave) yang berada di jajaran Pegunungan Selatan Jawa, yang secara tradisional dikenal dengan sebutan Gunung Sewu. Daerah yang memanjang dari barat (Wonosari) ke timur (Pacitan) ini memiliki bentang morfologi tersendiri yang khas, yang dicirikan oleh perbukitan karst berbentuk sinoid. Di salah satu lereng perbukitan inilah --yang secara administrasi termasuk dalam wilayah Desa Pagersari, Kecamatan Punung, Kabupaten Pacitan-- Song Keplek tertetak, sekitar 300 meter di sebelah barat daya jalan raya Wonogiri - Pacitan.
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10

Trần Anh, Tuấn, and Hải Nguyễn Đình. "Dòng chảy Stokes trên bề mặt gồ ghề có chiều dài trượt cục bộ biến thiên theo hàm số Cosine." Transport and Communications Science Journal 70, no. 4 (December 16, 2019): 279–88. http://dx.doi.org/10.25073/tcsj.70.4.15.

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Nghiên cứu này liên quan đến dòng chảy Stokes trên bề mặt gồ ghề đặc trưng bởi chiều dài trượt cục bộ biến đổi tuân theo hàm số cosine. Ở đây chúng ta phân tính cả hai tình huống đối với hướng của dòng chảy vuông góc và song song với cấu trúc gồ ghề. Để đạt được mục tiêu này, chúng ta sử dụng một phương pháp bán giải tích trên cơ sở khai triển chuỗi Fourier của trường vận tốc và áp suất. Kết quả thu được bằng phương pháp này được so sánh với phương pháp phần tử hữu hạn và một số kết quả nghiên cứu đã công bố trên thế giới.
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Books on the topic "Khasi Songs"

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L, Kharmawphlang Desmond, and Tripathi A. R, eds. Khasi folk songs & tales. New Delhi: Sahitya Akademi, 2006.

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2

Association, Khasi Jaintia Welfare. Ka phawar Khasi. Shillong: KJWA Research Cell, 2017.

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Khasi folk songs of North East India. Shillong: Jalani Publishers, 1995.

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Kharsahnoh, E. W. Ki sur bathiang: Na thwei ka dohnud. Shillong: La-Riti Publications, 2015.

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Syiem, Lapynshai. My father composer: Soulful melodies. Shillong: La Riti Publications, 2011.

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translator, Hasana Santosha, and Guptā Ramaṇikā editor, eds. Svarṇa sīṛhī se utarate śiśugaṇa: "Kī khuma kī hājāra kī Hinniyū ṭrepa" kā Hindī rūpāntaraṇa. Dillī: Ramaṇikā Phāuṇḍeśana ke lie Śilpāyana dvārā prakāśita, 2012.

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Lho-kha sa khul gyi dmaṅs rtsom rnam gsum legs btus spyi khyab rtsom sgrig u yon lhan khaṅ., ed. Lho-khaʼi yul glu legs btus. [Lha-sa]: Bod-ljoṅs mi dmaṅs dpe skrun khaṅ, 1995.

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Rgya-mtsho, Don-grub-phun-tshogs, and Bod-ljoṅs Lho-kha sa khul mi rigs kyi śul bźag rig gnas myur skyob khaṅ., eds. Lho-khaʾi dmaṅs khrod gźas ma gtam phyogs btus. Lha-sa: Bod-ljoṅs mi dmaṅs dpe skrun khaṅ, 2005.

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Tawanchāi, Suriya, and Suriya Tawanchāi. Botphlēng dap fai Tai plāi dām khwān: Pœ̄t čhai khai pritsanā bư̄angnā bư̄anglang hētkān 3 čhangwat chāidǣn Phāk Tai khō̜ng 3 miti phūchāi khon nưng chư̄ Suriya Tawanchāi, sinlapin thūt santiphāp, banyāi dūai phlēng, banlēng dūai phāp = Songs of life for the edge of (the Triangle). [Bangkok: s.n.], 2008.

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Chos-grags-dpal-bzang-po. Chos kyi rje thams cad mkhyen paʼi skyes rabs khyad par du ʼphags pa ʼphags pa ʼjam dpal gyi rang gi lta baʼi ʼdod pa mdor bstan pa bla maʼi brgyud rim gsal ba ʼchi khaʼi bar doʼi ngo sprod khyad ʼphags sogs bzhugs so. Pe-cin: Mi rigs dpe skrun khang, 2014.

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