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Jamnongsarn, Surasak. "TRANSKULTURASI MUSIK ANTARAGAMELAN JAWA, ANGKLUNG, DAN MUSIK TRADISI THAILAND." MELAYU ARTS AND PERFORMANCE JOURNAL 2, no. 2 (January 20, 2020): 158. http://dx.doi.org/10.26887/mapj.v2i2.975.
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Javanese gamelan and angklung to Thailand music gives the impact on the development of Thailand traditional music. That musical transculturation exists in the musical instrument of angklung and the musical concept of Javanese gamelan that are then mixed with the system of Thailand traditional music involving gamut (tuning system), presentment method, and its function in society. This transculturation shows the understanding of cultural relation between Thailand traditional music that has the background of Buddhism philosophy and Gamelan that has the background of Kejawen syncretism. These two kinds of music have formed the new characteristic and identity of Thailand music. Angklung played with the concept of Javanese gamelan called as angklung Thailand that then becomes Thailand traditional music. The article aims at revealing the transculturation of Javanese gamelan and angklung into the traditional music and its impact on the development of Thailand traditional music. This research used qualitative method with the accentuation in field research that involved researcher with the material object to delve various musical experiences by participating as the player of those two musical instruments. The transculturation of Javanese gamelan and angklung with Thailand traditional music has given the new development in Thailand traditional music. Keywords: Transculturation, Javanese gamelan, angklung, and Thailand traditional music ABSTRAKTranskulturasi gamelan Jawa dan angklung ke Thailand memberikan dampak pada perkembangan musik tradisi Thailand. Transkulturasi musik itu berwujud pada alat musik angklung dan konsep musikal gamelan Jawa, kemudian bercampur dengan sistem musik tradisi Thailand, yang mencakup pada tangga nada (tuning system), carapenyajian, dan fungsinya dalam masyarakat. Transkulturasi inimemunculkan pemahaman relasi kebudayaan antara musik tradisi Thailand yang berlatar belakang filosofi Buddhisme dan gamelan yang berlatar belakang sinkretis kejawen. Kedua musik ini telahmembentuk ciri dan identitas baru musik Thailand.Angklung yang dimainkan dengan konsep gamelan Jawa yang disebut angklung Thailand selanjutnya menjadi musik tradisi Thailand. Artikel bertujuan mengungkap transkulturasi gamelan Jawa dan angklung ke musik tradisi serta dampaknya pada perkembangan musik tradisi Thailand. Penelitian ini menggunakan metode kualitatif dengan penekanan pada penelitian lapangan yang melibatkan peneliti dengan objek materialuntuk menggali berbagai pengalaman musikal dengan ikut serta bermain kedua musik itu. Transkulturasi gamelan Jawa dan angklung dengan music tradisi Thailand telah memberikan perkembangan baru pada musik tradisi Thailand. Kata kunci: transkulturasi, gamelan Jawa, angklung, dan musik tradisi Thailand
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Suranto, Joni, and Santosa Santosa. "Sistem pelarasan pada campursari." Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni 14, no. 1 (July 17, 2019): 28–33. http://dx.doi.org/10.33153/dewaruci.v14i1.2534.
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Campursari, keinginan manusia untuk selalu berkarya dan membuat hal-hal baru melahirkan sebuah musik yang terbentuk dari beberapa jenis musik yang memiliki latar belakang kebudayaan yang berbeda. Secara garis besar musik ini terbentuk dari dua jenis musik yang berbeda yaitu karawitan dan keroncong, tetapi campursari sudah memiliki ciri khas sendiri dengan estetika dan rasa musikal yang berbeda dengan musik aslinya. Alat musik yang digunakan dalam campursari mengambil beberapa dari gamelan jawa dan beberapa dari alat musik barat. Sistem pelarasan dalam campursari sebagian menggunakan tangga nada diatonis dan mengubah nada-nada pada gamelan menyesuaikan dengan keyboard atau alat-alat musik dengan sistem pelarasan diatonis yang lain. Seiring dengan perkembangan jaman beberapa seniman campursari mulai mencoba menerapkan sistem pelarasan pelog dan slendro pada gamelan Jawa kedalam campursari, alat-alat musik yang sebenarnya berasal dari musik barat ditalu untuk bisa menyesuaikan dengan gamelan Jawa. ABSTRACTCampursari, a human willingness to always make work and create something new, create a kind of music which is formed by different types of music that have a different cultural background. Mainly, this music formed by two kinds of music which are karawitan and keroncong. However, campursari has its characteristic with the esthetic and musical taste which differ from its original music source. The music instruments used in campursari consist of Javanese gamelan and western music instruments. From Gamelan, it uses saron, demung, gender, kendhang, siter, suling, and gong. It also uses cak and cuk / ukulele from keroncong and keyboard, guitar, guitar bass, and drum set from combo band. The tunings system in campursari partly uses diatonic scales and transforms the gamelan musical scales to suit the keyboard or other music instruments that use other diatonic tunings systems. With the development of technology, some Campursari artists start to implement pelog and slendro system of Javanese gamelan into campursari. The western music instruments used are played in such a way so it will suit the Javanese gamelan.
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Sumardi, Sumardi, Arlina Dewi, and Sri Sumaryani. "Pengaruh Nafas Dalam Dan Mendengarkan Musik Gamelan Terhadap Tingkat Nyeri Pasien Post Operasi Fraktur Di RSUD Dr. Soediran Mangun Sumarso Wonogiri." DINAMIKA KESEHATAN JURNAL KEBIDANAN DAN KEPERAWATAN 10, no. 1 (January 2, 2020): 414–26. http://dx.doi.org/10.33859/dksm.v10i1.461.
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Latar Belakang: Indonesia menjadi peringkat ketiga Asia kematian korban kecelakaan lalu lintas. Penatalaksanaan patah tulang dilakukan dengan cara membatasi pergerakan tulang (imobilisasi) dapat dilakukan dengan cara Open Reduction Internal Fixation (ORIF). Managemen nyeri post operasi fraktur merupakan tindakan sangat penting dapat berupa nafas dalam dan mendengarkan musik gamelan.Tujuan: Untuk menganalisis pengaruh nafas dalam dan mendengarkan music gamelan terhadap tingkat nyeri pasien post operasi frakturMetode: Penelitian dengan Jenis kuantitatif pendekatan quasi ekeperimen ( pre-post test with control group design ). Populasi penelitian ini adalah pasien post operasi ORIF (Open Reduksi Internal fixation) yang mengalami rawat inap dengan sampling menggunakan teknik simple random sampling sejumlah 30 responden. Kelompok intervensi diberikan nafas dalam dan mendengarkan musik gamelan, kelompok kontrol dengan nafas dalam dan mendengarkan musik instrumental.Penilitian dilaksanakan bulan Agustus – September 2018Hasil: Uji statistik yang digunakan adalah uji t- berpasangan yaitu paired t-test dan independent t-test. Penelitian menunjukkan bahwa niali p value 0,05 sedangkan untuk nafas dalam dan mendengarkan musik gamelan serta nafas dalam dan mendengarkan musik instrumental dengan nilai p value 0,000, Pada independent t-test nilai p = 0,03. Nilai p0,05 Sehingga nafas dalam dan mendengarkan musik gamelan berpengaruh terhadap perubahan tingkat nyeri secara bermakna pada pasien post operasi ORIFKesimpulan: Terdapat pengaruh nafas dalam dan mendengarkan musik gamelan terhadap perubahan tingkat nyeri pasien post operasi di RSUD dr. Soediran mangun Sumarso Wonohiri. Kata kunci : Musik gamelan, nyeriAbstract Background: Indonesia is ranked third in Asia, the death toll of traffic accident victims. Management of fractures is done by limiting bone movement (immobilization) can be done using Open Reduction Internal Fixation (ORIF). Postoperative fracture pain management is a very important action that can take the form of deep breathing and listen to gamelan music.Objective: To analyze the effect of a deep breath and listen to gamelan music on the pain level of post-fracture surgery patientsMethod: Research with quantitative type quasi-experimental approach (pre-post test with control group design). The population of this study was patients post-ORIF (Open Reduction Internal Fixation) surgery who experienced hospitalization by sampling using a simple random sampling technique of 30 respondents. The intervention group was given a deep breath and listened to gamelan music, the control group with deep breathing and listening to instrumental music. The study was held in August - September 2018Results: The statistical tests used were paired t-test and independent t-test. Research shows that the value of p 0.05 value while for a deep breath and listening to gamelan music and deep breath and listening to instrumental music with a p-value of 0.000, In the independent t-test the value of p = 0.03. Value p 0.05 so that deep breath and listening to gamelan music have a significant effect on changes in pain levels in patients post-ORIF surgeryConclusion: There is the influence of a deep breath and listening to gamelan music on changes in the level of pain of postoperative patients in Dr. Soediran General Hospital Sumanguno Wonohiri. Keywords: gamelan music, pain
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Yusli, Utami Dwi, and Nurullya Rachma. "PENGARUH PEMBERIAN TERAPI MUSIK GAMELAN JAWA TERHADAP TINGKAT KECEMASAN LANSIA." Jurnal Perawat Indonesia 3, no. 1 (May 25, 2019): 72. http://dx.doi.org/10.32584/jpi.v3i1.290.
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Kecemasan lansia di panti wreda cenderung meningkat setiap hari.Kondisi ini dapat mengakibatkan ketidakmampuan berlebihan dan gangguan pada kualitas kehidupan lebih lanjut pada lansia. Terapi musik gamelan adalah salah satu alternatif terapi pada lansia dengan kecemasan, terutama kecemasan ringan sampai sedang yang sangat mudah untuk dilakukan dan tanpa efek samping. Penelitian ini bertujuan untuk mengetahui pengaruh terapi Musik Gamelan Jawa terhadap kecemasan pada lansia di Rumah Pelayanan Sosial Lanjut Usia Pucang Gading Semarang. Metode penelitian yang digunakan adalah penelitian kuantitatif dengan quasi experiment design dengan rancangan pretest-postest one group design. Teknik sampling yang digunakan adalah purposive sampling dengan jumlah sampel 40 responden. Pengambilan data menggunakan lembar kuesioner Geriatric Anxiety Scale (GAS). Hasil penelitian menunjukkan bahwa ada pengaruh terapi musik gamelan jawa terhadap tingkat kecemasan Lansia di Rumah Pelayanan Sosial Lanjut Usia Pucang Gading Semarang dengan nilai p value 0,000. Terapi musik gamelan dapat menjadi salah satu alternatif intervensi keperawatan yang dapat dilakukan oleh para caregiver di panti wreda untuk dapat diimplementasikan kepada lansia dengan masalah kecemasan. Kata kunci: Musik gamelan, lansia, kecemasan Abstract The effect of javanese gamelan music therapy intervention on elderly anxiety level. Elderly anxiety level in nursing homes tend increase every day. This condition can lead to excessive incompetence and further interference in quality of life. Gamelan music therapy is an alternative therapy management in the elderly with anxiety. It can control mild to moderate anxiety level which is very easy to do without side effects. The purpose of this study was to determine the effect of javanese gamelan music therapy intervention on elderly anxiety level at Elderly Social Services Home of Pucang Gading Semarang. The method of this study was quantitative used quasi-experimental design with pretest-posttest one group design. Sampling technique used was purposive sampling with 40 respondents as the sample. Retrieving data using a Geriatric Anxiety Scale (GAS) questionnaire sheet . The results show that there was a significant influence of Javanese gamelan music therapy on anxiety level of the Elderly at Elderly Social Services Home of Pucang Gading Semarang with p value of 0.000. Gamelan music therapy can be an alternative nursing intervention and can be done by the care giver in a nursing home for elderly with anxiety problems. Keywords: Gamelan music, elderly, anxiety
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Aryanto, Agustinus Sani. "Gamelan Soepra: Konsep dan Perilaku Musikal untuk Mencapai Tujuan Pendidikan." Journal of Music Science, Technology, and Industry 1, no. 1 (August 31, 2018): 111. http://dx.doi.org/10.31091/jomsti.v1i1.507.
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ABSTRAKGamelan Soepra adalah seperangkat gamelan yang diadaptasi dari gamelan Jawa dan memiliki nada diatonik seperti pada alat musik Barat. Dalam permainannya, gamelan Soepra dikolaborasikan dengan alat musik Barat seperti combo band dan string section. Gamelan Soepra diciptakan oleh seorang Jesuit asal Belanda bernama Henricus Constant van Deinse, SJ pada tahun 1957. Gamelan Soepra menjadi musik pendidikan di Sekolah Menengah Atas (SMA) Kolese Loyola Semarang, Jawa Tengah, sejak 2011. Penelitian ini bertujuan untuk mengetahui esensi dari gamelan Soepra sebagai sarana pembelajaran seni musik serta mendiskripsikan konsep, perilaku musikal, dan bunyi dalam musik gamelan Soepra di SMA Kolese Loyola Semarang. Metode penelitian yang digunakan adalah kualitatif dengan metode pengumpulan data observasi, wawancara, dan kajian literatur. Adapun pendekatan yang digunakan adalah musikologi untuk menganalisis instrumentasi pada gamelan Soepra. Data yang terkumpul dianalisis dengan menggunakan teori aktivitas musikal Alan P. Merriam untuk membedah perihal konsep, perilaku musikal, dan bunyi dalam gamelan Soepra dan teori dari Herbert Read untuk membedah fungsi pembelajaran gamelan Soepra sebagai sarana pendidikan seni musik di SMA Kolese Loyola. Hasil penelitian menunjukan bahwa SMA Kolese Loyola Semarang mempunyai metode tersendiri dalam mengenalkan gamelan melalui bentuk yang berbeda yaitu gamelan Soepra. Tangga nada diatonik dalam gamelan Soepra memiliki kekuatan dan kelemahan. Siswa menjadi lebih mudah dalam memainkan gamelan Soepra dengan berbagai genre lagu baik pentatonik maupun diatonik tetapi karakter tangganada pentatonik gamelan Jawa menjadi hilang. Melalui gamelan Soepra, siswa mampu mengenal kebudayaan Barat dan Timur baik dari alat musik maupun repertoar lagu yang dibawakan. Pengadaan konser rutin gamelan Soepra memberi pengalaman nyata bagi siswa baik dalam proses, persiapan, hingga pementasannya.Kata kunci: Gamelan Soepra, karawitan Jawa, diatonik, musik pendidikan. ABSTRACTSoepra Gamelan is a set of gamelan adapted from Javanese Gamelan and has diatonic note like westen musical instruments. Soepra Gamelan is played with combo band and string section. Soepra Gamelan was created by a Jesuit from Netherlands Henricus Constant Van Deinse SJ in 1957. Soepra Gamelan has become a music subject in Loyola Senior High School Semarang since 2011. This research is to know the essence of Soepra Gamelan as a music learning means and to describe concept, musical behaviour, and the sound of Soepra Gamelan in Loyola Junior High School Semarang. Method in this research is qualitative using observation, interview, and literature study. This research is based on musicology approach. The approach is used to analyze instrumentalitation in Soepra Gamelan. The data is analyzed by using Musical Activity Theory by Alan P Merriam regarding the concept, musical behaviour, and the sound of Soepra Gamelan while Herbert Read theory is used to analyze the function of learning as a musical educational means in Loyola Senior High School Semarang. The result of this research is that Loyola Senior High School Semarang has a special method in introducing gamelan. Musical scale in Soepra Gamelan has an advantages and disadvantages (positive and negative impacts). Students can play many genre of songs in pentatonic and diatonic musical scale easily but, however, the characters of Javanese musical scale are disappeared. Through Soepra Gamelan, the students can recognize western and eastern culture from musical instrument and repertoire songs. Routine concert in performing the gamelan gives a real experience to the students in terms of process, preparation, and performance.Keywords: Soepra Gamelan, Javanese karawitan, diatonic, music education.
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Ardana, I. Ketut. "Re-Actualization Balinese Gamelan Harmony for Renewal Knowlegde of the Balinese Music." International Journal of Creative and Arts Studies 8, no. 1 (June 28, 2021): 51–69. http://dx.doi.org/10.24821/ijcas.v8i1.5514.
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Balinese music has a variety of gamelan that develops in the community. Balinese gamelan is a central object in the development of Balinese musical knowledge. One of the most problematic is the harmony system. In the context of Balinese music knowledge, the harmony system is an element that is often discussed its existence. The 'harmony system' has been recognized through the dualistic concept. This concept is the source of the technique for playing the Balinese Gamelan. Knowledge of the harmony system with this dualistic concept is based on the object of research by Gamelan Gong Kebyar. Gamelan Gong Kebyar is indeed very closely related to the dualistic system. However, this system is not relevant to several other Balinese Gamelan, one of which is the Gamelan Gambang. Therefore, knowledge of the harmony system in Balinese music needs to be updated. This update is an actualization of knowledge about gamelan harmony. The problems discussed in this article are what is Balinese Gamelan harmony, what is the roles of Balinese Gamelan harmony and the concept of Balinese musical harmony. This reaserch uses a mix method, namely qualitative and quantitative methods. Musicology approach as a qualitative method while sound physics as a quantitative method. Re-aktualisasi Harmoni Gamelan Bali untuk Pembaruan Pengetahuan Musik Bali Abstrak Karawitan Bali memiliki ragam gamelan yang berkembang di masyarakat. Gamelan Bali merupakan objek sentral dalam pengembangan pengetahuan karawitan Bali. Salah satu yang paling bermasalah adalah sistem harmoni. Dalam konteks pengetahuan karawitan Bali, sistem harmoni merupakan unsur yang sering dibicarakan keberadaannya. Sistem harmoni terepresentasi melalui konsep dualistik. Konsep inilah yang menjadi sumber teknik memainkan Gamelan Bali pada umumnya. Pengetahuan sistem harmoni dengan konsep dualistik ini berdasarkan objek penelitian Gamelan Gong Kebyar. Gamelan Gong Kebyar memang sangat erat kaitannya dengan sistem dualistik. Namun sistem ini tidak relevan dengan beberapa Gamelan Bali lainnya, salah satunya Gamelan Gambang. Oleh karena itu, pengetahuan tentang sistem harmoni dalam karawitan Bali perlu dimutakhirkan. Pembaruan ini merupakan aktualisasi pengetahuan tentang harmoni gamelan. Permasalahan yang dibahas dalam artikel ini adalah apa yang dimaksud dengan harmoni Gamelan Bali, batasan harmoni Gamelan Bali dan model harmoni secara musikal gamelan Bali. Penelitian ini menggunakan mixmethode , yaitu metode kualitatif dan kuantitatif. Pendekatan musikologi sebagai metode kualitatif sedangkan fisika bunyi sebagai metode kuantitatif.
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Azhar, Handri Jir, Ferry Hadary, and Syaifurrahman Syaifurrahman. "Designing of Robot Gamelan Music using ATmega 16 Microcontroller." IAES International Journal of Robotics and Automation (IJRA) 6, no. 2 (June 1, 2017): 121. http://dx.doi.org/10.11591/ijra.v6i2.pp121-130.
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This paper presents a robot concept which is the robot can play the instrumental Gamelan music. Gamelan is a percussive instrument. Instrumental Gamelan music keys are consist of 2 octaves in 15 tones. Robot Gamelan music is using proportional-derivative (PD) control system. PD control of the robot is by controlling DC gear motor position to desired Gamelan key position. Robot Gamelan music using ATmega 16 microcontroller as a controller. Feedback of PD control is using magnetic rotary encoder (MRE) sensor. PD control is using the constant. The constant functions of PD control are determining the pulse width modulation (PWM) toward DC gear motor velocity in order to reposition a gamelan key position and pushing down the errors.
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Saepudin, Asep. "Laras, Surupan, dan Patet dalam Praktik Menabuh Gamelan Salendro." Resital: Jurnal Seni Pertunjukan 16, no. 1 (February 17, 2016): 52–64. http://dx.doi.org/10.24821/resital.v16i1.1274.
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Tulisan ini membahas tentang peranan laras, surupan, dan patet dalam praktik menabuh gamelansaléndro. Gamelan saléndro termasuk salah satu perangkat gamelan yang terdapat dalam karawitanSunda. Penyajian gamelan saléndro dalam karawitan Sunda memiliki keunikan tersendiri yang tidakditemukan pada musik lain yakni terdapat perbedaan laras antara gamelan yang digunakan denganlagu yang dinyanyikan oleh pesinden (vokalis). Oleh karena itu, tidak mudah untuk menyajikansebuah lagu dalam permainan gamelan saléndro karena harus memahami terlebih dahulu laras,surupan, dan patet sebagai jembatan bagi perbedaan laras ini agar terjalin nuansa musikal yangharmonis. Berdasarkan hasil analisis dapat disimpulkan bahwa laras, surupan, dan patet memilikiperanan sangat penting dalam praktik bermain gamelan saléndro, sebagai kunci utama yang harusdikuasai seorang pengrawit (lebih khusus bagi seorang perebab) untuk menyajikan lagu atau gending.Selain itu, disimpulkan pula bahwa laras, surupan, dan patet sebagai satu kesatuan yang utuh, memilikiketerkaitan satu sama lainnya dalam praktik menabuh gamelan saléndro.Laras, Surupan, and Patet in Playing Salendro Gamelan.This paper discusses the role of laras(musical scale), surupan, and patet (Jawa: pathet) concepts in playing salendro gamelan. Salendro gamelanis one of gamelan instruments in Sundanese gamelan music. The performance of salendro gamelan inSundanese gamelan has its own uniqueness which is not found in other musical genre or characteristics, thatthere is a different laras between the used gamelan and the song sung by vocalist. Therefore, it is not easy topresent a song in a salendro gamelan play because we should understand laras, surupan, and patet conceptsfor bridging the difference to create the harmonious musical nuance. Based on the result analysis, it may beconcluded that laras, surupan, and patet concepts play the important role in playing the salendro gamelan.They are the main keys for gamelan players who should master to play the song or gending. In addition, laras,surupan, and patet concepts as a unity relate to each other in playing the salendro gamelan.
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Gautama, Dewa Putu Yoga, I. Made Anom S. Wijaya, and I. Wayan Widia. "Musik Gamelan Bali Meningkatkan Pertumbuhan dan Produktivitas Tanaman Sawi Pakcoy (Brassica rafa L.)." Jurnal BETA (Biosistem dan Teknik Pertanian) 6, no. 2 (October 22, 2018): 73. http://dx.doi.org/10.24843/jbeta.2018.v06.i02.p03.
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Pemberian gelombang suara dengan frekuensi tinggi dapat merangsang mulut daun (stomata) tetap terbuka, akibatnya laju dan efisiensi penyerapan pupuk meningkat yang bermanfaat bagi tanaman. Hasil penggunaan sonic bloom pada tanaman adalah mampu menstimulir metabolisme sel-sel tanaman, sehingga terjadi peningkatan penyerapan nutrisi dan uap air lewat daun yang berpengaruh pada pertumbuhan dan produktivitas tanaman. Tujuan dari penelitian ini yaitu (1) untuk mengetahui pengaruh pemberian musik Gamelan Bali terhadap pertumbuhan dan produktivitas tanaman sawi pakcoy dan (2) untuk menentukan jenis musik Gamelan Bali yang memberikan pertumbuhan dan produktivitas sawi pakcoy yang terbaik. Penelitan ini menggunakan tanaman sawi pakcoy (Brassica Rafa L.). Perlakuan yang diberikan dalam penelitian adalah pemberian musik gamelan bali dengan nuansa musik yang berbeda. Perlakuan 1 menggunakan musik gamelan Angklung, Perlakuan 2 menggunakan musik gamelan Semarpagulingan dan Perlakuan 3 menggunakan musik gamelan Gong Kebyar. Data yang diperoleh dianalis ANOVA dengan program IBM SPSS 20. Variabel yang diamati yaitu tinggi tanaman, luas kanopi daun tanaman, tingkat kehijauan daun tanaman, dan berat kering. Hasil penelitian menunjukan bahwa pemberian musik gong kebyar menghasilkan nilai tertinggi pada variabel tinggi tanaman, luas kanopi daun, tingkat kehijauan daun, dan berat kering yang masing menghasilkan nilai yaitu yaitu 29,98 cm, 1684 cm2, 186,79, dan 68,61 gr. Pemberian musik memberikan pengaruh yang positif dan berbeda nyata pada pertumbuhan tanaman sawi pakcoy. Semakin tinggi frekuensi musik yang diberikan maka semakin baik pertumbuhan tanaman sawi pakcoy yang dihasilkan.
High frequency sound waves can stimulate the mouth of leaf (stomata) remains opened.The stomata remains open leading to efficient absorption of fertilizer. The purposes of this research were (1) to find out the effect of Balinese instrument music on the growth and productivity of pakcoy mustard plant and (2) to determine the type of Balinese instrument music that gives the best growth and productivity of mustard pakcoy. The treatment of this research was the application of Balinese instrument music with different musical nuances for 3 hours. Treatment 1 was using Angklung instruments music, treatment 2 was using Semarpagulingan instrument music and treatment 3 using Gong Kebyar instrument music. The obtained data was analized by ANOVA with the IBM SPSS 20 program. The observed variables include plant height, canopy area of plant leaf, green leaves level and dry weight. The results showed that Gong Kebyar instrument music application produces the highest value of 29.98 on the height of the plant variables, the widest value of 1684 cm2 on the canopy area variables, the biggest value that is 68,61 gr on the dry weight variables and the largest value of 186.79 on the green leaves level variables. Balinese instrument music application effect to the growth of pakcoy mustard plant. The best plant growth was the plant with gong kebyar instrument music application from all observed variables.
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Sigmarawan, Gede Teguh, I. Made Anom S. Wijaya, and I. Putu Gede Budisanjaya. "Efek Kombinasi Musik Gamelan Gong Kebyar dan Cahaya LED (Light Emitting Diode) Terhadap Pertumbuhan dan Produktivitas Sawi Pakcoy (Brassica rapa L.)." Jurnal BETA (Biosistem dan Teknik Pertanian) 8, no. 1 (June 19, 2019): 1. http://dx.doi.org/10.24843/jbeta.2020.v08.i01.p01.
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This study aims to (1) determine the effect of the combination of gong kebyar gamelan music and LED light on the growth and productivity of pakcoy mustard and (2) determine the combination of gong kebyar gamelan music and LED light that provides the best growth and productivity in pakcoy mustard plants. This study used pakcoy mustard plants which are given a treatment of the combination of gong kebyar gamelan music and different LED light. The first treatment used a combination of gong kebyar gamelan music and white LED light, treatment 2 used a combination of gong kebyar gamelan music and red blue LED light, and treatment 3 used a combination of gong kebyar gamelan music and blue red and white LED light. The data obtained were analyzed using one way anova test and followed by Duncan test with a confidence level of 95%. The variables observed were plant height, canopy area, leaf greenness, root length, wet weight and dry weight of plant shoots and roots. The results showed that giving a combination of gong kebyar gamelan music and LED light had a significant effect on the growth and productivity of pakcoy mustard. The combination of gong kebyar gamelan music and red blue LED light gave the best growth and productivity, with plant height, canopy area, leaf greenery, root length, shoot wet weight, root wet weight, shoot dry weight and root dry weight, respectively also included 27,176 cm, 1457.59cm2, 160.03, 23.6cm, 91.68g, 4.63g, 5.26g, 4.63g and 0.42g.
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Putra, I. Putu Adi Septa Suweca. "Analisis Komposisi Musik “Kuasa Tanah”." Journal of Music Science, Technology, and Industry 2, no. 1 (January 15, 2019): 49. http://dx.doi.org/10.31091/jomsti.v2i1.611.
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Tulisan ini bertujuan untuk mengupas dan memahami lebih mendalam cara kerja musik “Kuasa Tanah” yang dikomposisi oleh musisi Bali Dewa Ketut Alit yang secara terselubung menanamkan nilai intelektual dalam proses perwujudannya. Setiap komponis tentu memiliki metode tersendiri untuk mewujudkan karyanya. Perbedaan metode dan wujud karya yang dihasilkan dapat memberikan ciri khas tersendiri bagi setiap komponis. Tulisan ini lebih merujuk kepada persoalan musikalitas yang terjadi pada peristiwa karya ini. Persoalan musikalitas sangat penting dipahami dan dikupas untuk melihat musik secara tekstual. Melalui persoalan ini, pada giliran selanjutnya, dapat digunakan sebagai pengetahuan serta landasan keilmuan dalam membuat suatu karya, dan diharapkan dapat membuka cara pandang masyarakat agar musik tidak hanya dianggap sebagai hiburan semata. Berdasarkan metode kualitatif dari wawancara dan transkripsi yang dilakukan, dalam analisis penulis ditemukan bahwa dalam karya ini terdapat pembaharuan tata racik yang tercermin dari cara kerja komponis dalam mengolah elemen-elemen musik yang telah dipilih. Keseluruhan karya ini menggunakan beberapa jenis instrumen yang terdapat dalam gamelan Bali. Meskipun medium yang digunakan ialah beberapa instrumen lokal dari gamelan Bali, tetapi musik yang dihasilkan bersifat universal. Ini menunjukkan bahwa gamelan akan secara elegan hidup berdampingan di atas kesetaraan dan bergelora sebagai musik yang mandiri di tengah-tengah dinamika musik global yang tiada batas. This paper aims to explore and understand more deeply about the music of “Kuasa Tanah” (or the power of land) composed by a Balinese musician named Dewa Ketut Alit which covertly instills intellectual value in the process of its manifestation. Broadly speaking, each composer certainly has his own method for realizing his work. The difference in methods and forms of the work produced can also provide distinctive characteristics for each composer. This article is more referring to musicality problems that occur in “Kuasa Tanah” The issue of musicality is very important to understand and peel to see music in a textual manner. Through this issue, in the next turn, it can be used as knowledge and scientific foundation in making another new work, and is expected to open a society’s perspective so that music is not only regarded as merely entertainment. Using qualitative method through interview and transcription done, in the analysis is fount that in “Kuasa Tanah”, there is a renewal of the packaging system that is reflected in the way the composer works in processing the selected musical elements. The entire work uses several types of local instruments found in Balinese gamelan. Although it uses several instruments from Balinese gamelan, but the music produced is sounded universal. This shows that the gamelan will elegantly coexist above equality and surge as independent music amidst the infinite dynamics of global music.
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Hastuti, Khafiizh, and Khabib Mustafa. "A method for automatic gamelan music composition." International Journal of Advances in Intelligent Informatics 2, no. 1 (March 31, 2016): 26. http://dx.doi.org/10.26555/ijain.v2i1.57.
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Aim of this study is designing a method for automatic gamelan music composition using rule-base expert system approach. The program is designed for non-expert user in order to help them composing gamelan music or analyzing their composition to achieve explanation and recommendation of ideal composition. There are 2 essential components in this method, which are knowledge and inference. Knowledge is represented into basic knowledge and melodic knowledge. Basic knowledge contains rules that control the structure of gamelan song, and melodic knowledge supports system in composing or analyzing notations sequence that fit the characteristics of melody in gamelan music. Basic knowledge represents basic rules of gamelan music that have quantitative value, so deterministic approach is used for basic knowledge acquisition. Melodic knowledge consists of dynamic data, so stochastic approach is used to create the melodic knowledge base. The rules of composing and analyzing a composition are defined based on basic knowledge and melodic knowledge. The inference engine is designed to compose and analyze a composition. Automatic composition for gamelan music is proposed using Generate and Test method (GAT) with random technique, and composition analysis is proposed using backward chaining method
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Yudana, Nisa Puspaningtyas, and Sugeng Bayu Wahyono. "The Development of Gamelan Learning Media for Android Operating System." Indonesian Journal of Curriculum and Educational Technology Studies 7, no. 2 (November 30, 2019): 64–71. http://dx.doi.org/10.15294/ijcets.v7i2.29443.
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Gamelan is one of the most important traditional music instruments of Javanese culture, but it is too expensive for schools to have it. In order to enhance student awareness, sense of belonging and skills on playing Gamelan, this research tried to develop a learning media for Android operating system. By employing research and development (R & D) approach the development process of this research refers to Alessi & Trollip (2001). Adobe flash has been used as a basis of the media development and after several process (planning, design, and development) the learning media is ready to use, because the post-test indicated an increased student score on their understanding and beginner skills on playing Gamelan. At least, this learning media become an alternative way to learn Gamelan traditional music instrument by using Android.
Abstrak
Gamelan merupakan salah satu instrumen musik tradisional yang paling penting dari budaya Jawa, tetapi terlalu mahal bagi sekolah untuk memilikinya. Untuk meningkatkan kesadaran siswa, rasa memiliki dan keterampilan bermain Gamelan, penelitian ini mencoba mengembangkan media pembelajaran untuk sistem operasi Android. Dengan menggunakan pendekatan penelitian dan pengembangan (R&D) proses pengembangan penelitian ini mengacu pada metode yang dikembangkan oleh Alessi & Trollip (2001). Berikutnya, Adobe Flash telah digunakan sebagai dasar pengembangan media dan setelah beberapa proses (perencanaan, desain, dan pengembangan) media pembelajaran ini siap untuk digunakan, hal itu karena hasil post-test menunjukkan peningkatan skor siswa pada pemahaman dan keterampilan mereka sebagai pemain pemula dalam memainkan Gamelan. Setidaknya, media pembelajaran ini menjadi cara alternatif untuk mempelajari alat musik tradisional Gamelan dengan menggunakan Android.
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Prehara, Kenny, and Rahayu Supanggah. "“TOWARDS GAMELAN POP”." Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni 12, no. 2 (July 16, 2019): 62–70. http://dx.doi.org/10.33153/dewaruci.v12i2.2528.
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ABSTRAK“Towards Gamelan Pop” adalah karya seni musik yang lahir akibat bentuk permasalahan yang sedang populer saat ini, misalnya korupsi, kurangnya kepedulian terhadap lingkungan hidup, radikalisme, tindak pelanggaran hukum, dan kerusakan moral. Fenomena tersebut dikaitkan dengan bentuk musik pop yang sedang diminati oleh banyak kalangan masyarakat. “Towards Gamelan Pop” mengangkat kisah legenda setempat di daerah Kompleks Candi Gedong Songo yaitu Kisah Ramayana dengan tujuan menarik generasi muda untuk mencintai kesenian tradisi nusantara. Karya musik ini memadukan instrumen gamelan dengan gaya bernyanyi pop dan diperankan oleh 6 tokoh, yaitu Rama, Shinta, Rahwana, Wibisana, Hanoman, dan Semar. Karya musik ini dipentaskan di Kompleks Candi Gedong Songo dengan durasi 60 menit yang terbagi dalam sebelas karya lagu, yaitu Rimba Raya, Aku, Satu, Penjara Emas, Hanoman Obong, Petuah yang Dianggap Sampah, Eling lan Waspada, Gerhanamu, Impas, Mandi Api, dan Sigaraning nyawa.Kata kunci : populer, pop, Kisah Ramayana, generasi muda, gamelan.Abstract“Towards Gamelan Pop” is the musical art work form due to the problems that are popular today, such as corruption, the lack of concern towards the environment, radicalism, acts of lawlessness, and moral damage. These phenomena are associated to a form of pop music that is in demand by many people in the community. “Towards Gamelan Pop” lifts the local legends from the Gedong Songo temple complex that is the story of Ramayana, which its purpose is to attract the younger generation to love thetraditional arts of the archipelago. This musical work blends gamelan instruments with pop singing style and performed by six characters, namely Rama, Shinta, Rahwana, Wibisana, Hanoman, and Semar. This musical work is staged in the Gedong Songo complex with a duration of 60 minutes divided into eleven song parts, namely “Rimba Raya” (the Great Jungle), “Aku” (I), “Satu” (One), “Penjara Emas” (the Golden Prison), “Hanoman Obong” (Ignited Hanoman), “Petuah yang Dianggap Sampah” (Unconsidered Wisdom), “Eling lan Waspada” (Keep in Mind and Alert), “Gerhanamu” (Your Eclipse), “Impas” (Breakeven), “Mandi Api” (Bathe in Flames), and “Sigaraning Nyawa” (Soulmate).Keywords: popular, pop, Ramayana Legend, young generation, gamelan.
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Pamungkas, Benidiktus Candra, Udi Utomo, and Totok Sumaryanto Florentinus. "An Implementation of Reflective Pedagogy in Hybrid Music Learning of Gamelan Soepra." Catharsis 9, no. 3 (February 27, 2021): 220–28. http://dx.doi.org/10.15294/catharsis.v9i3.44612.
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Gamelan Soepra is a gamelan instrument that has been changed in tonality to diatonic and has a higher wadhah. With its diatonic tonality, Gamelan Soepra is able to be combined with today's modern instruments and it is able to play many song. The uniqueness of the Gamelan Soepra was used by Pater van Deinse as a music education at SMA Kolese Loyola. Gamelan Soepra is a tool for educating thar is combined with reflective pedagogy as an educational method. Reflective pedagogy has several elements, namely: context, experience, reflection, action, and evaluation. This study aims to understand the implementation of the reflective pedagogy elements in the learning process of Gamelan Soepra. The methods used by the author in collecting data were observation, interview, and document study. Gamelan Soepra Learning through reflective pedagogy not only develops students' abilities in playing music (Competence), but students also are trained to hone and develop their conscience (Compassion), conscience and their commitment and responsibility to what they have chosen (Commitment). This s is study expected to be a reference for developing learning methods, especially music learning
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Salim, Muhammad Nur. "KREATIVITAS RAHAYU SUPANGGAH PADA FILM OPERA JAWA KARYA GARIN NUGROHO." Acintya Jurnal Penelitian Seni Budaya 12, no. 2 (December 7, 2020): 158–69. http://dx.doi.org/10.33153/acy.v12i2.3580.
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ABSTRACT One of the developments in film in Indonesia is the musical genre film. This genre film experienced a post-reform high point when Sherina's Adventure Film came. This point then became the beginning of the development of musical genre films that were born in the 2000s period. One of the interesting musical films is the Javanese Opera Film by Garin Nugroho. Opera Jawa is interesting because first, Opera Jawa has received various awards and nominations at both national and international levels. Second, because this film bases its musical work on Javanese gamelan or gamelan media. This second reason is the focus of this research. The research "Rahayu Suanggah's Creativity in Garin Nugroho's Javanese Opera Film" is an attempt to reveal one of the film music creation methodologies based on her creative process with Javanese karawitan media (gamelan music). The musical concepts of the musical that were carried by Rahayu Supanggah as the music director was revealed through Rahayu Supanggah's conceptual approach in Bothekan Karawitan Garap's book (2007). The results of this study; Rahayu Supanggah uses Javanese musical nuances in composing Javanese Opera music by involving songs that are composed in various variations such as; 1) single tembang, 2) pathetan, 3) nothing, 4) palaran, and 5) arrangement of traditional pieces while the illustration music consists of 1) New Composition, 2) Illustration of Traditional Music, 3) Exploration Music. Keywords: Creativity, Music, Javanese Opera, Rahayu Supanggah ABSTRAK Perkembangan film di Indonesia salah satunya pernah diwarnai oleh film genre musikal. Film genre ini mengalami titik puncak pasca reformasi ketika Film Petualangan Sherina hadir. Titik tersebut kemudian menjadi awal perkembangan film genre musikal yang lahir pada periode tahun 2000-an. Salah satu film musikal yang menarik adalah Film Opera Jawa karya Garin Nugroho. Opera Jawa menarik karena pertama, Opera Jawa mendapatkan berbagai penghargaan dan nominasi tingkat nasional maupun internasional. Kedua, karena film ini mendasarkan garapan musikalnya dengan media gamelan Jawa atau karawitan. Alasan kedua inilah yang menjadi fokus pada penelitian ini.Penelitian “Kreativitas Rahayu Suanggah dalam Film Opera Jawa Karya Garin Nugroho” merupakan upaya mengungkap salah satu metodologi penciptaan musik film yang mendasarkan proses kreatifnya dengan media karawitan Jawa (musik gamelan). Konsep-konsep musikal karawitan yang diusung Rahayu Supanggah sebagai music director diungkap melalui pendekatan konsep garap-nya Rahayu Supanggah dalam buku Bothekan Karawitan Garap (2007). Hasil penelitian ini; Rahayu Supanggah menggunakan nuansa karawitan Jawa dalam menggarap musik Opera Jawa dengan melibatkan tembang yang digarap dalam berbagai variasi seperti; 1) tembang tunggal, 2) pathetan, 3) ada-ada, 4) palaran dan 5) aransemen gendhing tradisi sedangkan musik ilustrasi terdiri dari 1) Komposisi Baru, 2) Ilustrasi Gending Tradisi, 3) Musik Eksplorasi.Kata Kunci: Kreativitas, Musik, Opera Jawa, Rahayu Supanggah
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Fanani, Ahmad Zainul, Khafiizh Hastuti, Arry Maulana Syarif, and Aton Rustandi Mulyana. "Rule-based Interactive Learning Application Model on How to Play Music Instruments." International Journal of Emerging Technologies in Learning (iJET) 15, no. 15 (August 14, 2020): 52. http://dx.doi.org/10.3991/ijet.v15i15.11486.
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This research aims to develop an interactive application to support people learning to play music instruments of orchestra music. Gamelan, a traditional music orchestra from Java, Indonesia was used as the object study. A model of gamelan orchestra learning application was proposed to support an easy way to learn how to play gamelan music instruments. Rule-based method was used to develop an interactive system to learn gamelan music instru-ments. The system was implemented into an application which supports us-ers in independently learning to play orchestra music instruments, especially in remembering notes sequences and playing the note according to the tem-po. An experiment involving two groups consisted of control and treatment groups were conducted to evaluate the proposed learning model. The results shows that the averages skill value of the members of the treatment group were higher than the members of the control group.
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Hastuti, Khafiizh, Pulung Nurtantio Andono, Guruh Fajar Shidik, Edi Noersasongko, and Arry Maulana Syarif. "Gamelan Composer: a Rule-Based Interactive Melody Generator for Gamelan Music." International Journal on Engineering Applications (IREA) 8, no. 4 (July 31, 2020): 148. http://dx.doi.org/10.15866/irea.v8i4.19356.
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Mardiati, Yayuk, Wasino ., and Dhanang Respati Puguh. "Making Connection: Integrating Gamelan Music into Social Studies Classroom." International Journal of Research and Review 8, no. 7 (July 22, 2021): 236–44. http://dx.doi.org/10.52403/ijrr.20210733.
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With the publication of the United Nations, Educational, Scientific and Cultural Organization (UNESCO) on report of the Asian Regional Symposia on Arts Education nearly one and decades ago, scholars and educators have urged Asian teachers, including Indonesia to incorporate arts and culture into curriculum to improve the quality of education, yet efforts connecting arts, especially gamelan music into social studies is lacking. Built upon the previous research on integrated curriculum which aligned with National Education Standard Board (Indonesian: Badan Standar Nasional Pendidikan or BSNP), on both process and content standards this article aimed to offer a rationale for incorporating Javanese gamelan music potential into social studies classroom and propose a framework for planning. Social studies classroom components included assigned readings on Indonesian national history, especially in the Hindu-Buddhist eras in small group discussion. With this approach and its lesson it is presumed that social studies and gamelan teachers benefit of integrating gamelan music into social studies. Keywords: Javanese gamelan, integration, framework, social studies.
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Finarno, Hannova Aji, and S. Santosa. "GARAP MUSIKAL GENDING DALAM FILM SETAN JAWA." Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi 19, no. 1 (September 12, 2019): 15–24. http://dx.doi.org/10.33153/keteg.v19i1.2648.
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Film Setan Jawa merupakan sebuah film bisu hitam putih yang dalam pemutaran filmnya diiringi oleh gamelan secara langung, Pertunjukan Film Setan Jawa mengangkat kisah mitologi Jawa yang diangkat dari kisah kisah nyata dari berbagai daerah. musik gamelan yang mengiringi film Setan Jawa komposer Rahayu Supanggah, dengan garap musik gamelanya yang menjiwai tiap adegan pada film Setan Jawa. Pendekatan yang digunakan adalah pendekatan musikologi.Penelitian ini tentang garap musikal gending, maka konsep yang dipakai adalah konsep-konsep musikologi karawitan Jawa. Konsep ini selain mengkaji tentang garap gending juga membahas konsep pathet, irama, bentuk dan struktur gending. Hasil penelitian ini ditemukan bahwa pada pementasan film Setan Jawa, gending-gending yang digunakan dalam mengiringi setiap adegan memiliki sajian garap yang berbeda dari penyajian adegan satu dengan yang lainnya. Setiap penyajian yang berbeda-beda tersebut mengalami perbedaan serta perubahan dalam sajian tafsir garapnya. Pemilihan gending dalam garap musikal film Setan Jawa, Supanggahmenggunakan gending-gending lama. Hal ini selain digunakan untuk menghidupkan suasana film, pemilihan gending juga disesuaikan dengan konteks dalam adegan cerita.Kata kunci: Setan Jawa, Karawitan, Garap.AbstractThe “Setan Jawa” movie is a silent black and white move that in its screenings is accompanied by a direct gamelan orchestra. “Setan Jawa” movie raised a Javanese mythological story based on true stories from various regions. The gamelan music that accompanies the movie composed by Rahayu Supanggah, with the gamelan music that animates each scene in the movie. The approach that is used is the musicology approach. This research is about working on the movie’s musical tunes (gending), the concepts used are Javanese musical concepts. Apart from studying the concept of gending, this concept also discusses the concept of pathet, rhythm, the shape and structure of gending. The results of this research found that in the staging of “Setan Jawa” movie, the music used to accompany each of the scene has a different presentation from the presentation of one scene to another. Each of these different presentations experiences differences as well as changes in the interpretation of the gending. Supanggah selected old gending for the musical work of the “Setan Jawa” movie. Apart from it, the selection of gending used to liven up the atmosphere of the film as well as adjusting it to the context in the story scene.Keywords: Setan Jawa, Karawitan, Garap.
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Sorrell, Neil. "Gamelan: Occident or Accident?" Musical Times 133, no. 1788 (February 1992): 66. http://dx.doi.org/10.2307/965846.
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Harnish, David, Walter Quintus, Kurt Renker, Mark Nauseef, Kusuma Sari, Pan Menga, and I. Nyoman Wenten. "Gamelan Batel Wayang Ramayana." Asian Music 25, no. 1/2 (1993): 289. http://dx.doi.org/10.2307/834217.
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Diamond, Jody, STSI Denpasar, Wayne Vitale, I. Wayan Beratha, Mrdangga Giri Kasuma, Candra Metu, Dharma Kasuma, and I. Nyoman Windha. "Music of the Gamelan Gong Kebyar." Ethnomusicology 42, no. 1 (1998): 187. http://dx.doi.org/10.2307/852841.
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Goldsworthy, David. "Teaching gamelan in Australia: Some perspectives on cross-cultural music education." International Journal of Music Education os-30, no. 1 (November 1997): 3–14. http://dx.doi.org/10.1177/025576149703000102.
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Indonesian percussion orchestras (gamelan) have found a place in several Australian education institutions. Their presence and usage confronts music educators and students alike with a whole range of cross-cultural issues – social, ethical, pedagogical, and musical. Javanese gamelan is an ideal medium for introducing students to broader aspects of Indonesian society as well as to the musical principles and procedures of another culture. The educative value of gamelan studies also extends to musical insights and skills of a more general application in a student's music education. This paper examines some approaches to teaching gamelan in Australia, and discusses problems faced by students of this tradition in a cross-cultural situation.
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Sugiyanto, Danis, and Sigit Setiawan. "KOMPOSISI KARAWITAN ISMUNING CAHYA: INTERPRETASI KEESAAN TUHAN MELALUI TOKOH SEMAR." Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi 20, no. 2 (May 31, 2021): 157–67. http://dx.doi.org/10.33153/keteg.v20i2.3555.
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This work is entitled "Ismuning Cahya", is a work of contemporary Javanese gamelan music composition with the theme "the form of the Oneness of God” represented by the wayang character, Semar. The purpose of the creation of this works is to prove the existence of contemporary music (gamelan), as a reference for gamelan students who are interested in creating works of art (music). The output of this artistic research work is in the form of works (both live and/ or audio documentation) and scientific works which contain the process of developing the works "Ismuning Cahya". From there, it is hoped that this work will be able to become a model for the creation of works of art, especially the creation of contemporary gamelan.
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Syarif, Arry Maulana, Azhari Azhari, Suprapto Suprapto, and Khafiizh Hastuti. "Human and Computation-based Music Representation for Gamelan Music." Malaysian Journal Of Music 9 (November 20, 2020): 82–100. http://dx.doi.org/10.37134/mjm.vol9.7.2020.
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A public database containing representative data of karawitan traditional music is needed as a resource for researchers who study computer music and karawitan. To establish this database, a text-based pitch model for music representation that is both human and computer-based was first investigated. A new model of musical representation that can be read by humans and computers is proposed to support music and computer research on karawitan also known as gamelan music. The model is expected to serve as the initial effort to establish a public database of karawitan music representation data. The proposed model was inspired by Helmholtz Notation and Scientific Pitch Notation and well-established, text-based pitch representation systems. The model was developed not only for pitch number, high or low or middle pitch information (octave information), but for musical elements found in gamelan sheet music pieces that include pitch value and legato signs. The model was named Gendhing Scientific Pitch Notation (GSPN). Ghending is a Javanese word that means “song”. The GSPN model was designed to represent music by formulating musical elements from a sheet music piece. Furthermore, the model can automatically be converted to other music representation formats. In the experiment, data in the GSPN format was implemented to automatically convert sheet music to a binary code with localist representation technique.
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Sanger, Annette, and James Kippen. "Applied Ethnomusicology: The Use of Balinese Gamelan in Recreational and Educational Music Therapy." British Journal of Music Education 4, no. 1 (March 1987): 5–16. http://dx.doi.org/10.1017/s0265051700005696.
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As an experiment, a Balinese gamelan was integrated with a summer music course for the physically handicapped. Two ethnomusicologists were invited to demonstrate playing techniques and to teach pieces of gamelan music which were later performed. This article documents the success of the experiment and describes the very considerable potential of the gamelan in general recreational and educational music therapy. More particularly, the essentially non-Western methods of learning and practising adopted on the course encouraged and engendered a broad range of skills in those with little or no previous musical experience, and significantly extended the abilities of the musically trained. The results of this experiment suggest that both music therapists and music educators may be able to extend the range of their work by drawing on certain non-Western musical traditions.
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Lo, Emma. "Intercultural Transfer and Balinese Gamelan Preservation." International Journal of Interreligious and Intercultural Studies 3, no. 1 (April 28, 2020): 27–34. http://dx.doi.org/10.32795/ijiis.vol3.iss1.2020.682.
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The influence and spread of traditional Balinese music over time and across regions has been conducted through a number of different channels. In addition to locally-focused efforts, cultural transfer has also contributed to the preservation of traditional Balinese arts. From the self-interested, strategic support of gamelan music by Japanese occupational forces to the global experimental music scene today, Balinese arts have been shared, supported, translated, and appropriated in various ways by a number of different actors to political, artistic, and commercial ends. Building on Michel Espagne’s definition of cultural transfer and Stephen Greenblatt’s concept of cultural mobility, this paper aims to outline different modes of cultural transfer (or “bridges,” as Espagne would say), with explicit attention to power dynamics and multi-way flows of influence. Several key historical and contemporary examples of the transfer of traditional Balinese music will be discussed in an effort to better understand the relationship between cultural transfer and preservation.
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Wolbers, Paul A., David Parsons, and Roger Vetter. "Yogyakarta: Gamelan of the Kraton." Yearbook for Traditional Music 33 (2001): 212. http://dx.doi.org/10.2307/1519688.
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Kuo-Huang, Han, and Neil Sorrell. "A Guide to the Gamelan." Asian Music 23, no. 2 (1992): 165. http://dx.doi.org/10.2307/834178.
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Djohan, Dr, Fortuna Tyasrinestu, and Phakkharawat Sittiprapaporn. "How Gendhing Gamelan reduced anxiety in pregnancy." Asian Journal of Medical Sciences 11, no. 1 (January 1, 2020): 37–41. http://dx.doi.org/10.3126/ajms.v11i1.26517.
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Background: Listening to music will not only have a soothing and uplifting effects on someone but also a positive influence on the unborn baby. The positive vibes that will be acquired from listening to music will create a prenatal stimulation that will help pregnant mother to bond with their unborn baby. It will enable them to lower their stress and anxiety levels and also reduce any stress that the unborn baby may feel in the womb. Previous researches claimed the ability of music, especially western music, in reducing anxiety and stress toward pregnant woman.
Aims and Objective: Instead of using western music, the present study investigated the effect of listening to gamelan music toward the reducing of anxiety on pregnancy.
Materials and Methods: In a pilot experiment, 60 healthy volunteers (mean age = 29.0; SD = 5.0) evaluated their anxiety responses to a Javanese traditional musical piece using a Slendro Sanga scale.
Results: The research shows significant effect (p<0.05; F=5.340) of Javanese traditional music to reduce anxiety in pregnant woman thus the hypotheses are accepted.
Conclusion: Trust toward pregnant woman is important to be built because it can be the foundation of self-confidence and preventing stress. That is why, external situation is important since it has impact in internal situation.
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Darno, Darno, and Muriah Budiarti. "Reaktualisasi Gamelan Krumpyung Bersama MGMP Seni Budaya Kabupaten Purbalingga." Abdi Seni 11, no. 1 (June 26, 2020): 1–20. http://dx.doi.org/10.33153/abdiseni.v11i1.3123.
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AbstrakProgram Pengabdian Kepada Masyarakat (PKM) ini bertujuan untuk mengembangkan model pembelajaran praktek berbasis kompetensi yang berorientasi produktif dalam pembelajaran praktek bagi para guru seni di daerah. Ada dua target capaian pada program ini adalah meningkatkan kemampuan praktek musik tradisi bagi para guru seni, dan memahamkan prinsip-prinsip dasar penyusunan karya musik baru dari sumber musik daerah. Hasil kegiatan ini menunjukkan bahwa (1) model pembelajaran dapat meningkatkan kompetensi guru yang berorientasi produktif; (2) model pembelajaran tersebut efektif dapat meningkatkan kemampuan guru pada pembelajaran praktek; (3) model pembelajaran tersebut dapat menciptakan iklim belajar yang memposisikan peserta didik sebagai centre learning dengan segala aktivitas yang dilakukannya. Metode yang digunakan adalah ceramah, demonstrasi, partisipasi, dan diskusi. Metode ini mendorong dan membangkitkan keberanian belajar dan bekerja yang didasari komitmen yang tinggi dan berdisiplin, meningkatkan kecepatan belajar, motivasi belajar, semangat belajar, kerja sama kelompok, kreatifitas, dan inovasi. Kata kunci : pembelajaran praktek, reaktualisasi, penyusunan musik inovasi tradisi.AbstractThis Community Service Program (PKM) aims to develop competency-based practice learning models that are productively oriented in practical learning for art teachers in the regions. There are two targets in this program to improve the ability to practice traditional music for art teachers, and to understand the basic principles of composing new music from local music sources. The results of this activity show that (1) the learning model can improve the competency of teachers who are productive-oriented; (2) the learning model can effectively improve the ability of teachers in practical learning; (3) the learning model can create a learning climate that positions students as learning centers with all the activities they do. The methods used are lectures, demonstrations, participation, and discussion. This method encourages and inspires courage to learn and work based on high commitment and discipline, increase the speed of learning, motivation to learn, enthusiasm for learning, group cooperation, creativity, and innovation.Keywords: practical learning, re-actualization, compilation of musical innovations in tradition
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Tomo, Tito Pradhono, Alexander Schmitz, Guillermo Enriquez, Shuji Hashimoto, and Shigeki Sugano. "Wayang Robot with Gamelan Music Pattern Recognition." Journal of Robotics and Mechatronics 29, no. 1 (February 20, 2017): 137–45. http://dx.doi.org/10.20965/jrm.2017.p0137.
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[abstFig src='/00290001/13.jpg' width='245' text='Wayang robot' ] This paper proposes a way to protect endangered wayang puppet theater, an intangible cultural heritage from Indonesia, by turning a robot into a puppeteer successor. We developed a seven degrees-of-freedom (DOF) manipulator to actuate the sticks attached to the wayang puppet body and hands. The robot can imitate 8 distinct human puppeteer’s manipulations. Furthermore, we developed a gamelan music pattern recognition, towards a robot that can perform based on the gamelan music. In the offline experiment, we extracted energy (time domain), spectral rolloff, 13 Mel-frequency cepstral coefficients (MFCCs), and the harmonic ratio from 5 s long clips, every 0.025 s, with a window length of 1 s, for a total of 2576 features. Two classifiers (3 layers feed-forward neural network (FNN) and multi-class Support Vector Machine (SVM)) were compared. The SVM classifier outperformed the FNN classifier with a recognition rate of 96.4% for identifying the three different gamelan music patterns.
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Rusdiyantoro, Rusdiyantoro. "KEBERTAHANAN NOTASI KEPATIHAN SEBAGAI SISTEM NOTASI KARAWITAN JAWA." Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi 18, no. 2 (March 26, 2019): 136–47. http://dx.doi.org/10.33153/keteg.v18i2.2402.
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AbstrakNotasi Karawitan Jawa merupakan sebuah metode pencatatan permainan musik gamelan. Ia dilahirkan setelah terjadi proses interaksi budaya yang cukup intensif antara orang-orang yang berlatar budaya Jawa dengan budaya Barat. Sebelumnya masyarakat karawitan Jawa tidak mengenal notasi. Sistem pewarisan permainan musiknya dilakukan dengan cara tradisi lisan. Notasi Karawitan pertama kali diperkenalkan di pusat-pusat kebudayaan Jawa, yaitu di ibu kota kerajaan Surakarta dan Yogyakarta, pada akhir abad ke-19. Tidak kurang dari delapan macam sistem notasi diperkenalkan dan dikembangkan untuk mendokumentasi-kan gending Jawa agar tidak hilang. Pada perkembangan selanjutnya notasi karawitan digunakan sebagai alat untuk belajar menabuhgamelan. Dari ke delapan sistem notasi tersebut, hanya notasi Kepatihan yang dapat bertahan hingga sekarang. Notasi Kepatihan dapat bertahan dalam waktu yang lama, karena sistemnya relatif sederhana dan terbuka untuk dikembangkan. Pemanfaat-an notasi angka tidak hanya untuk dokumentasi dan pembelajaran gamelan, tetapi juga untuk pengkajian ilmu karawitan. Dampak dari penggunaan notasi Kepatihan secara terus menerus dan sangat dominan, menjadikan penyajian karawitan menjadiseragam. Sebuah kondisi yang bertentangan dengan sifat karawitan Jawa itu sendiri, dimana keterbukaan terhadap berbagai gaya permainan dan penghargaan terhadap keberagaman lebih diutamakan.Untuk mengurangi dampak negatif, pemanfaatan notasi Kepatihan dalam proses belajar Karawitan harus ditempatkan kembali sebagai alat bantu ingatan para pemusiknya. Pengembangan sistem notasi Kepatihan lebih diarahkan untuk keperluan dokumentasi terhadap perbendaharaangarap dan teknik karawitan yang mulai hilang dari ingatan para pemusik gamelan. Kata kunci: karawitan, notasi, pencatatan, dan gending.AbstractJavanese gamelan notation is one method for recording the playing of Javanese gamelan. It arose from the intensive cultural interaction between those from Javanese and Western backgrounds. Before this, theJavanese karawitan community did not know of notation, transmitting the music orally. Notation was first introduced towards the end of the 19th century in the centres of Javanese culture: the court cities of Surakarta and Yogyakarta. No fewer than eight systems of notation were introduced and developed to document Javanese gendhing to prevent them from being lost. A subsequent development was the use of notation as a tool for teaching how gamelan should be played. From these eight systems, only the Kepatihan notation has survived to this day.Kepatihan has been able to survive for so long because it is relatively simple and easily modified. The use of cipher notation has not been restricted to documentation and pedagogy, but also to develop theoriesof gamelan music (ilmu karawitan). The impact of Kepatihan’s widespread and continual use has been the standardisation of gamelan performances, a condition at odds with the character of Javanese karawitan which prioritises an openness to different styles of playing and respects diversity. To reduce this negative impact, theuse of Kepatihan notation in teaching should return to being a mnemonic tool for musicians, and developed as a tool for documentation of garap and techniques that are beginning to be forgotten.Keywords: karawitan, notation, recording, and recording.
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Goldman, Jonathan. "Interculturalism through a cognitive filter: Gilles Tremblay recomposes gamelan in Oralléluiants [1975]." Lekesan: Interdisciplinary Journal of Asia Pacific Arts 1, no. 1 (May 22, 2018): 12. http://dx.doi.org/10.31091/lekesan.v1i1.344.
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In an article on the impact of gamelan music on Claude Debussy's musical language, Nicholas Cook shows Debussy's musical interpretations that navigate between viewpoints that claim that the gamelan presents "confirmation" of the principles that have been acquired by French composers and others who judge inspired techniques from the gamelan to imitate foreign musical culture. This article applies Cook's thought to the Javanese gamelan inspiration case in Oralléluiants (1975) by Gilles Tremblay (1932-2017), by trying to go beyond the opposition between pastiche orientalist style and deeper style assimilation by giving credit to the composer Québécois. This paper proposes the idea of "cognitive filters" as a way to understand how gamelan affects Tremblay without the same effect on other composers who are exposed to the same musical culture. The phrase "cognitive filter" shows every musical schematic that listeners have not mastered in terms of their training, ability, acculturation and psychological specificity, and that represents an order perceptual data to enable in the capture of previously unknown music.
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Diamond, Jody. ""Interaction: New Music for Gamelan": An Introduction." Leonardo Music Journal 2, no. 1 (1992): 99. http://dx.doi.org/10.2307/1513216.
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Burman-Hall, Linda, I. Made Lasmawan, Jill Fredericksen, Mark Fuller, and Tunas Mekar. "Gamelan Tunas Mekar: Music of Bali, Indonesia." Asian Music 31, no. 2 (2000): 177. http://dx.doi.org/10.2307/834404.
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Young, Douglas. "Colin McPhee's Music: (II) ‘Tabuh-Tabuhan’." Tempo, no. 159 (December 1986): 16–19. http://dx.doi.org/10.1017/s0040298200022804.
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In his prefatory ‘Note’ to the full score of Tabuh-Tabuhan (eventually published by AMP Inc. 1960), McPhee wrote:Tabuh-Tabuhan was composed in Mexico in 1936 and first performed by Carlos Chavez and the National Orchestra of Mexico City. It was written after I had spent four years in Bali engaged in musical research, and is largely inspired, especially in its orchestration, by the various methods I had learned of Balinese gamelan technique. The title of the work derives from the Balinese word tabuh, originally meaning the mallet used for striking a percussion instrument, but extended to mean strike or beat… Tabuh-Tabuhan is thus a Balinese collective noun, meaning different drum rhythms, metric forms, gong punctuations, gamelans, and music essentially percussive. In a subtitle I call the work Toccata for Orchestra and two pianos.
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Jayantoro, Setyawan. "Penyuluhan Seni Gamelan Dukuh Kadireso." Jurnal Pengabdian Seni 1, no. 1 (December 21, 2020): 66–73. http://dx.doi.org/10.24821/jas.v1i1.4704.
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Berawal dari pelaksanaan KKN, penulis menjumpai dan merintis terbentuknya kelompok gamelan di Dukuh Kadireso. Pada pengabdian ini, penulis berfokus pada kurangnya apresiasi pada warisan budaya dan kembali melakukan penyuluhan dengan metode pembelajaran langsung: teknik tiap ricikan, membaca notasi, dan praktik bersama. Materi yang diberikan diharapkan dapat membantu konsistensi kelompok gamelan ini untuk dapat beraktivitas secara mandiri. Hasil dari pengabdian ini adalah tercapainya penguasaan materi pada Gangsaran dan Lancaran "Ayo Kanca Nabuh Gamelan" serta terbentuknya komunitas diskusi kesenian di Karang Taruna Dukuh Kadireso.The writer is exposed to the community of Kadireso village started from an undergraduate field program, in which the writer met and started a gamelan (traditional Javanese music instrument) group. In this opportunity, the writer focuses in the community’s lack of appreciation for the cultural heritage and reintroduces the gamelan workshop through an intensive teaching sessions: technique in each ricikan (stanza), reading music notes, and communal practices. The material given are hoped to be able to lead them into consistency and to engage in the activity independently. Results of this workshop shows that the group is now able to master the beginner drill of Gangsaran and Lancaran: “Ayo KancaNabuh Gamelan” and is able to solidify the arts discussion community in Kadireso village youth community.
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Sutton, R. Anderson. "Individual Variation in Javanese Gamelan Performance." Journal of Musicology 6, no. 2 (1988): 169–97. http://dx.doi.org/10.2307/763713.
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Miller, Leta E., and Fredric Lieberman. "Lou Harrison and the American Gamelan." American Music 17, no. 2 (1999): 146. http://dx.doi.org/10.2307/3052712.
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Sutton, R. Anderson. "Individual Variation in Javanese Gamelan Performance." Journal of Musicology 6, no. 2 (April 1988): 169–97. http://dx.doi.org/10.1525/jm.1988.6.2.03a00030.
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Harnish, David, and David Lewiston. "Bali: Gamelan and Kecak." Ethnomusicology 34, no. 3 (1990): 492. http://dx.doi.org/10.2307/851644.
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Bakan, Michael B., Pan Menga, I. Nyoman Wenten, Kurt Renker, Walter Quintus, Mark Nauseef, and I. Wayan Sumendra. "Gamelan Batel Wayang Ramayana." Ethnomusicology 39, no. 2 (1995): 321. http://dx.doi.org/10.2307/924443.
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GARCIA, LUIS-MANUEL. "Unplayed Melodies: Javanese Gamelan and the Genesis of Music Theory:Unplayed Melodies: Javanese Gamelan and the Genesis of Music Theory." Music Theory Spectrum 29, no. 2 (October 2007): 247–53. http://dx.doi.org/10.1525/mts.2007.29.2.247.
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Pietrosanti, Luca. "Combinatorial Principle in the Use of Drum (Kendhang) Formulae in Gamelan Music of Yogyakarta. From Prescriptive Models to the Interpretation of a Composition: the Case of Kendhang Pinatut." International Journal of Creative and Arts Studies 1, no. 2 (April 17, 2017): 25. http://dx.doi.org/10.24821/ijcas.v1i2.1558.
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In this paper, I address the question to the use of drums (kendhang) in the traditional Gamelan music of Yogyakarta, by presenting some prescriptive models (or formulas). I illustrate how, the use of different prescriptive models in a composition follow what I labeled as “Combinatorial Principle”. In order to describe the essential elements of this principle, I will analyze the modalities of interaction between a very flexible drum formula (known as pinatut) and three other prescriptive models for drum within some exemplary pieces of traditional Gamelan music. The concept of combinatorial principle illustrated in these pages, on the one hand explains the way of interaction between the drum’s rhythmic formulas and their capacity to influence the choices made by the entire orchestra during a performance; on the other hand, through this principle we are able to trace a path that attempts to understand the “deep structures” that are the basics of making music in Gamelan tout court. Through the perspective of the combinatorial principle it is possible to analyze the prescriptive models and techniques of many other instruments of the Gamelan of central Java.
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Mohd Shah, Shahanum, and Janette Jannah Poheng. "The Changing Landscape of the Malay Gamelan and its Implications on Music Education in Malaysia." Environment-Behaviour Proceedings Journal 6, SI5 (September 1, 2021): 137–41. http://dx.doi.org/10.21834/ebpj.v6isi5.2939.
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Globalisation and information technology have posed challenges to cultural systems whereby new ways are taking over old ways that are indigenous to a particular culture. Traditional modes of cultural expression are being restructured where changes in musical practices and sound systems are affecting composers to remain vital. New music for the Malay gamelan using new modes of expression require schools to act as agents for change and innovation to occur. This study examines the direction gamelan music is taking in Malaysia and its implications on music education in Malaysia in order for the gamelan to remain relevant. Keywords: Malay gamelan; teaching; learning; approaches eISSN: 2398-4287 © 2021.. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v6iSI5.2939
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Hadiprayitno, Kasidi. "Relasitas Lakuan Wayang dengan Iringan Gamelan Gagrag Yogyakarta." Dance and Theatre Review 4, no. 1 (June 13, 2021): 21–35. http://dx.doi.org/10.24821/dtr.v4i1.4923.
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ABSTRAKMaksud dari penulisan ini adalah mengadakan studi terhadap relasitas lakuan gerak wayang gaya pedalangan Yogyakarta dengan musik iringan wayang. Data diperoleh dari pengamatan dan survei pergelaran wayang yang diselenggarakan di Sasana Hinggil Dwi Abad Yogyakarta. Pendekatan masalah dengan metode deskriptif analitis, sedangkan untuk kepentingan pembahasan dengan menggunakan analisis estetika terutama estetika pewayangan. Berdasarkan analisis yang dilakukan, diketahui bahwa lakuan gerak wayang dengan iringan wayang membentuk jalinan harmonik. Gending iringan wayang meliputi bentuk gending ageng, ladrangan, ketawang, lancaran, playon dan sampak, sedangkan dari segi estetik memenuhi kesatuan atau keutuhan, kekuatan, dan kerumitan (unity, intencity, dan complexcity).Kata kuci: Pertunjukan wayang, relasi gerak wayang dan gamelan, struktur harmonik ABSTRACTThe purpose of this is to conduct a study of the behavior of Yogyakarta puppet style movements with puppet accompaniment music. Data obtained from observations and surveys of wayang performances held at Sasana Hinggil Dwi Abad Yogyakarta. Approach to the problem with the analytical descriptive method, while for the purpose of discussion using aesthetic analysis, especially puppet aesthetics. Based on the analysis carried out, it is known that the wayang movements with accompaniment form a harmonic structure. Puppet accompaniment gending includes the forms of gending ageng, ladrangan, ketawang, lancaran, playon and sampak, while in terms of aesthetics it takes care of unity or integrity, strength, and complexity (unity, intencity, and complexcity).Key word: Wayang performance, relation of movement and music, harmonic structure.
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Jayantoro, Setyawan. "TRANSFORMASI KONFRONTATIF KOMPOSISI GAMELAN BARU: Revitalisasi Penciptaan Inovatif dan Peran Vital Perguruan Tinggi Seni." Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi 18, no. 1 (March 26, 2019): 25–38. http://dx.doi.org/10.33153/keteg.v18i1.2394.
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AbstrakInovasi sebebas-bebasnya tanpa batas adalah persoalan konfrontatif yang sesungguhnya tengah mengancam eksistensi musik tradisi dalam korelasinya dengan masalah jati diri beserta dinamika konservasinya di era tuntutan yang serba mutakhir. Sejatinya orientasi komposisi gamelan baru itu berbasis pada akar tradisinya yang utuh, sebagai wujud inovasi kreatif, puncak dari akumulasi keilmuan karya-karya tradisi sebelumnya, karena desakan dominasi tuntutan kepentingan materialistik, atau memang sebatas ajang pelarian atas sikap frustasinya sebab ketidakmampuan mengusai basis tradisi yang mumpuni – berbagai model kontradiksi semacam ini tentu menjadi persoalan urgensif untuk ditelaah serius. Saat ini kita dapat melihat substansi masalahnya pada wujud karya gamelan non tradisi. Dorongan kuat semangat “modernisasi†berbalut lebat ideologi materialisme memang telah mengkonstruksi kesadaran kuat bahwa gamelan seolah dapat disandingkan dengan instrumen musik apapun, dicampur-sarikan dengan sistem musik apapun, dikolaborasikan dengan hitungan frekuensi apapun, fleksibel ditransformasikan ke dalam bentuk komposisi apapun, dan bahkan bebas direkayasa liar tanpa perlu pertimbangan kognitif yang didasarkan pada pengetahuan yang holistik. Perguruan Tinggi Seni tentu memiliki peran vital dan inheren dengan masalah konfrontasi ini sehingga perlu merumuskan rekonsiliasi ideologis melalui dialektika kritis yang berkesinambungan. Transformasi inovatif gamelan dalam entitas apapun idealnya dapat berjalan konsisten di atas konservasi kemapanan yang dinamis. Tiap hembusan nafas kebaruan yang diciptakan adalah kreasi inovatif yang berbasis pada sintesis dengan progresi intelektualitas yang dinamis, atraktif, impresif, dan konstruktif sehingga memperkaya eksistensi seni tradisi di era mutakhir.Kata Kunci: Konfrontasi, Komposisi, Transformasi, GamelanAbstract Unlimited freedom in innovation is a confronting problem that is seriously threatening the existence of traditional music in with regards to the issue of identity and the dynamics of its conservation in an era that demands one keeps up to date. By right, the orientation of new gamelan compositions should be based on its intact traditional roots: as a form of creative innovation they are the culmination of knowledge found in previous traditional works. However, because of the dominating pressures of materialistic concerns, or indeed as an excuse for the inability to achieve mastery in traditional competencies, this type of contraindicative model is certainly an urgent matter for serious study. At present we can see the substance of the problem in the form of non-traditional gamelan works. The strong impulse of the spirit of “modernization†clad in the ideology of materialism has indeed constructed a strong awareness that the gamelan seems to be juxtaposed with any musical instrument, mixed with any music system, collaborated with any frequency count, flexibly transformed into any composition, and even wildly engineered without the need for cognitive consideration based on holistic knowledge. Higher Education in the Arts certainly has a vital and inherent role with this confronting problem, making it necessary to formulate ideological reconciliation through continuous critical dialectics. The innovative transformation of gamelan in any entity can ideally run consistently above dynamic establishment conservation. Every breath of novelty created is an innovative creation based on synthesis with dynamic, attractive, impressive and constructive intellectual progressions that enrich the existence of traditional art in the current era.Keywords: Confrontation, Composition, Transformation, Gamelan.
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Sutton, R. Anderson. "Humor, Mischief, and Aesthetics in Javanese Gamelan Music." Journal of Musicology 15, no. 3 (1997): 390–415. http://dx.doi.org/10.2307/763917.
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