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Journal articles on the topic 'Sundanese Music'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

Nurwansah, Ilham. "Penelusuran Jejak Musik Instrumental dalam Naskah Sunda Kuna." Manuskripta 10, no. 1 (2020): 95. http://dx.doi.org/10.33656/manuskripta.v10i1.141.

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Abstract: Until the early 20th century, the Sundanese region was considered to have no musical history, even though such information contained, among others, the Old Sundanese script. Not many researches on the history of Sundanese music have used Old Sundanese textual sources. This paper discusses aspects of instrumental music found in Old Sundanese texts including terms used to refer to music and the types of musical instruments used. The sources used are Old Sundanese texts from the pre-Islamic period between the 15th and 17th centuries AD. Several Old Sundanese musical instruments are stil

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2

Bramantio, Aditya. "Eksistensi Komunitas Musik Metal Di Kota Bandung Tahun 1989-2018." Historia 6, no. 2 (2023): 86. http://dx.doi.org/10.19184/jh.v6i2.42595.

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This study aims to determine (1) the background existence of the metal music communities in Bandung 1989-1994, (2) the existence of the metal music communities in Bandung 1995-2018, (3) the role of the metal music communities in Bandung in preserving the Sundanese cultural values. The results showed the formation of metal music communities in Bandung was initiated by the formation of three metal music groups in 1989 namely Funeral, Orthodox, and Jasad. In 1990 Funeral initiated the formation of the first metal music community in Bandung, namely the Bandung Death Brutality Area (Badebah). The p

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3

Williams, Sean. "Constructing Gender in Sundanese Music." Yearbook for Traditional Music 30 (1998): 74. http://dx.doi.org/10.2307/768554.

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4

Wasta, Asep, Tjetjep Rohendi Rohidi, Agus Cahyono, and Udi Utomo. "Cultural Interactions in Sunda Karawitan Vernacular Music Practice: Forms of Cultural Adaptations among the Chinese Community at Padepokan Pasundan Asih, Bandung, Indonesia." International Society for the Study of Vernacular Settlements 11, no. 7 (2024): 114–25. http://dx.doi.org/10.61275/isvsej-2024-11-07-08.

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The Chinese ethnic community in Indonesia has long been an integral part of the cultural diversity in the country, reflected through various aspects, including traditional arts and music. One tangible example of this cultural integration is the practice of Sundanese karawitan music among the Chinese community, which can be found at Padepokan Pasundan Asih in Bandung and its surrounding areas. This research investigates the cultural significance and adaptation process of Sundanese karawitan music within the Chinese community at Padepokan Pasundan Asih. The research employs a phenomenological ap

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5

Williams, Sean. "Current Developments in Sundanese Popular Music." Asian Music 21, no. 1 (1989): 105. http://dx.doi.org/10.2307/834075.

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Jamnongsarn, Surasak. "Music deculturation: A traditional thai Music tool for Indonesian Music Adoption." International Journal of Creative and Arts Studies 5, no. 1 (2018): 31–40. http://dx.doi.org/10.24821/ijcas.v5i1.2213.

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There has been foreign music influence on traditional Thai music since Ayutthaya period. Pi Jawa ( Java flute), Klong Jawa ( Java drum) and some traditional Thai song with foreign title have been legally and literally evident in Ayutthaya era. Some said that Thai people are open-minded in music, harmonious mixing overseas music culture with their own. Ethnomusicologists have seen this social phenomenon via music context and explained the revolution of traditional Thai music differently from the acceptance of music in general. This article reviewed the acceptance of Indonesian music, including

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Permas, Imas, Asep Kosasih, Gan Gan Garmana Gardea, et al. "Tembang Sunda: Sundanese Classical Songs." Musical Times 134, no. 1809 (1993): 658. http://dx.doi.org/10.2307/1002813.

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8

Sofyan, I. Wahyudi, Yayat Sudaryat, and Usep Kuswari. "CHARACTER EDUCATION VALUES IN THE LYRICS OF “CANGKURILEUNG” SONGS BY MANG KOKO." IJoLaC: International Journal of Language and Culture 2, no. 2 (2024): 93–98. https://doi.org/10.63762/ijolac.v2i2.15.

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Mang Koko is a second-generation artist after Raden Machyar Anggakoesoemadinata, who was involved in the history of Sundanese traditional music (karawitan) development in the 20th century. He created hundreds of traditional Sundanese songs that remain popular and cherished by the Sundanese community today. Due to his creativity and the diversity of his works, he is recognized as a reformer in Sundanese traditional music. Besides being skilled in arranging songs, Mang Koko was adept at composing lyrics. One of his works is compiled in the Cangkurileung Volumes 1–3 songbook series. This paper ai

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Saputra, Firman Adi, and Sukmawati Saleh. "The Movement of Sundanese Karawitan Artist in the Indie Music From the Perspectiv of Music Sociology." PANTUN: Jurnal Ilmiah Seni Budaya 9, no. 1 (2024): 26. http://dx.doi.org/10.26742/pantun.v9i1.3200.

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This research delves into the attitudes and perspectives of Sundanese karawitan artists toward the indie music movement through the lens of music sociology. Employing qualitative methodologies such as literature review and fieldwork, the study reveals that these artists do not merely act as preservers of cultural heritage but also actively adapt and integrate their traditional music into the indie music scene. As pivotal figures, they engage in collaborations with global elements within the indie world, making substantial contributions to the evolution of indie music. This active participation

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Pratama, Aditya, and Diah Latifah. "Rancangan Instrumen Virtual Kendang Sunda Menggunakan Kontakt Sebagai Media Kreativitas Musik Digital." Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik 5, no. 2 (2023): 167–76. http://dx.doi.org/10.24036/musikolastika.v5i2.134.

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Purpose: The purpose of this research is to reveal the process of designing a virtual instrument for Sundanese drumming, starting from practical studies to its realization as a market-ready design. The influence of the development of digital music technology has led to various inventions in the form of virtual instruments. As part of the preservation and development of local culture-based music, it is necessary to create virtual musical instruments, including Sundanese drums. The problem that occurs today is, that virtual instrument media for Sundanese drums that facilitate learning Sundanese

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11

Handayani, Kristiana Prasetya, Andrew Johan, and Chandra Bagus Ropyanto. "THE INFLUENCE OF SUNDANESE ZITHER (KACAPI) MUSIC THERAPY ON ANXIETY LEVELS IN PRE-CARDIAC CHATHETERIZATION PATIENTS." Belitung Nursing Journal 4, no. 2 (2018): 256–62. http://dx.doi.org/10.33546/bnj.125.

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Background: Patients who will have cardiac catheterization mostly experience anxiety. Unresolved anxiety may have a harmful effect such as increasing frequency of heart, breathing and blood pressure as well as risks of complication. Music is considered effective in reducing anxiety.Objective: This study aims to examine the effect of Sundanese zither (kacapi) music therapy on anxiety level in pre-cardiac catheterization patients.Methods: This was a quasi-experimental study. Fifty-six respondents were selected using consecutive sampling technique, which 28 respondents assigned in the experiment

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Lahpan, Neneng Yanti Khozanatu. "Islamic Musical Forms and Local Identity in Post-Reform Indonesia." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 175, no. 2-3 (2019): 284–308. http://dx.doi.org/10.1163/22134379-17502003.

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Abstract Through an analysis of local Sundanese music in distinct settings in village and urban contexts, this article observes and analyses different constructions of meaning around Sundanese Islamic music, as well as the role played by cultural activists and village audiences in those constructions. Based on fieldwork in Tasikmalaya, West Java, I explore the novel meanings given to village genres in urban contexts, and contrast that with the affective responses of village audiences. I find that musical meanings offer different processes of identity formation within particular social boundari

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Raden, Agung Zainal Muttakin, Rustopo Rustopo, Timbul Haryono, and Dendi Pratama. "Iconography: Sundanese Calligraphy as Artistic Expressions of Identity." Harmonia: Journal of Arts Research and Education 23, no. 1 (2023): 132–40. http://dx.doi.org/10.15294/harmonia.v23i1.37716.

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The Sundanese script is one of Indonesia’s traditional scripts. The existence of Sundanese script is still being preserved by cultural activists and the Sundanese script literacy community, one of which is through calligraphy in Sundanese script. This article will analyze the calligraphy of Sundanese script by Edi Dolan posted on his social media. The Sundanese calligraphy that will be discussed is in the form of puppets, animals, and humans. The Sundanese calligraphy will be reviewed through an iconographic approach. Iconography has three levels in analyzing objects, namely (1) Pre-iconograph

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14

Priscilla, Birgita. "Imitasi Instrumen Kacapi Sunda Pada Aransemen Gitar Klasik Tunggal: Studi Kasus Terhadap Aransemen â€œBubuy Bulanâ€ Karya Iwan Tanzil." Urban: Jurnal Seni Urban 7, no. 1 (2023): 3–14. http://dx.doi.org/10.52969/jsu.v7i1.116.

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Iwan Tanzil merupakan komposer gitar klasik Indonesia yang cukup banyak menggunakan idiom musik tradisional Indonesia dalam karya-karyanya. Salah satu karya aransemennya â€œBubuy Bulanâ€, menggunakan idiom musik tradisional yaitu kacapi dan bas betot, dan diolah menggunakan teknik komposisi musik barat serta dieksekusi dengan berbagai teknik gitar klasik yang unik. Penelitian ini bertujuan untuk mengetahui bagaimana penerapan imitasi kacapi sunda pada aransemen gitar klasik â€œBubuy Bulanâ€ karya Iwan Tanzil. Metode yang digunakan dalam penelitian ini adalah art based research, dengan pendek

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Julia, Julia, and Tedi Supriyadi. "The inheritance of values in Sundanese song of Cianjuran in West Java." Harmonia: Journal of Arts Research and Education 17, no. 2 (2017): 120. http://dx.doi.org/10.15294/harmonia.v17i2.8645.

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<p>This article examines the issue of inheritance that occurs in the Sundanese Song of Cianjuran. During this time, the inheritance is dominated by the transfer of skills only, while the transfer of value tends to be ignored. Consequently, the public cannot grasp the value of what is important to Sundanese Song of Cianjuran, so that over time the Sundanese Song of Cianjuran being abandoned. Through research conducted by observation into the studio and the training venues of Sundanese Song of Cianjuran, and interviews with the artists of Sundanese Song of Cianjuran, the study results show

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Herlinawati, Lina. "FUNGSI KARINDING BAGI MASYARAKAT CIKALONGKULON KABUPATEN CIANJUR." Patanjala : Jurnal Penelitian Sejarah dan Budaya 1, no. 1 (2009): 96. http://dx.doi.org/10.30959/patanjala.v1i1.237.

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AbstrakKarinding adalah satu jenis alat musik tradisional, dibuat dari bambu atau pelepah enau. Alat musik itu dimainkan oleh mulut disertai pukulan jari tangan, sehingga menghasilkan bunyi yang yang unik dan low decible. Alat musik tersebut diciptakan oleh leluhur petani Sunda. Selain untuk bermain musik, bunyi alat itu dipercaya dapat mengusir hama dan binatang perusak tanaman. Fungsi karinding demikian itu masih berlangsung pada masyarakat Cikalongkulon Kabupaten Cianjur.Seiring dengan perkembangan zaman, kemudian karinding menjadi alat hiburan, bahkan kini menjadi bentuk kesenian yang mena

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17

Noorbani, Muhammad Agus, and Mahmudah Nur. "TUHAN, IZINKAN AKU BERNYANYI: ROCKER MUSLIMAH SUNDA DAN RESISTENSI TERHADAP STEREOTYPE." SETARA: Jurnal Studi Gender dan Anak 4, no. 02 (2023): 161. http://dx.doi.org/10.32332/jsga.v4i02.5730.

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This paper provides an analysis of resistance carried out by a rock band called Voice of Baceprot (VoB). VoB is a group of heavy metal musicians consisting of three young Sundanese Muslimah from Garut, Indonesia. Sundanese women are usually portrayed as having ambiguous characteristics, especially as depicted in the media. Physically, they are often perceived as attractive and ageless, while their personality traits are considered hard-working, assertive, principled, smart, and trustworthy. These perceptions thus create a negative stereotype of Sundanese women, especially since it is still tab

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18

Supriadi, Dedi, Evangeline Hutabarat, and Vera Monica. "PENGARUH TERAPI MUSIK TRADISIONAL KECAPI SULING SUNDA TERHADAP TEKANAN DARAH PADA LANSIA DENGAN HIPERTENSI." Jurnal Skolastik Keperawatan 1, no. 2 (2015): 29–35. http://dx.doi.org/10.35974/jsk.v1i2.80.

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ABSTRAK Pendahuluan: Hipertensi merupakan salah satu faktor resiko terhadap kejadian penyakit jantung dan pembuluh darah serta dikategorikan sebagai the silent killers. Untuk menangani hipertensi tersebut terdapat dua cara yaitu penanganan farmakologi dan penanganan non farmakologi. Salah satu penanganan non farmakologi yaitu dengan teknik relaksasi melalui terapi musik tradisional kecapi suling Sunda. Tujuan: mengetahui pengaruh terapi musik tradisional kecapi suling Sunda terhadap tekanan darah pada lansia dengan hipertensi di PSTW Budi Pertiwi Bandung. Metode: Desain penelitian menggunakan

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19

Nugraha, Asep. "From Sukabumi to Amsterdam 1883: Sundanese Society through Parakansalak Tea Plantation Exposition." SPIRIT OF SOCIETY JOURNAL 6, no. 1 (2022): 82–93. http://dx.doi.org/10.29138/scj.v6i1.1726.

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In 1883 the tea plantation in the Parakansalak Sukabumi region brought workers from the local plantation community to Amsterdam, to participate in De Internationale Koloniale en Uitvoerhandel Tentoonstelling. The planter, Mr. Holle, promoted the commodity of tea by including the original culture of the colony's land, precisely the Sundanese ethnicity. Sundanese cultural presentations include gamelan and dance performances and cultural tours of Sundanese society. Europeans directly witnessed people from the colonies playing music and dancing and carrying out daily life activities through villag

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Gustina, Susi, Farhan Reza Paz, and Zakarias S. Soeteja. "Representation of Local Styles in Cingcangkeling Performance at the International Choir Festival as a Reflection of Sunda Cultural Identity." Harmonia: Journal of Arts Research and Education 23, no. 1 (2023): 91–104. http://dx.doi.org/10.15294/harmonia.v23i1.40029.

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This research was conducted to figure out the representation of local styles in Cingcangkeling performance at the international choir festival as a reflection of cultural identity. There are several studies on folksong, but generally, they only focus on music analysis; and do not explain the representation of local styles in folksong performances at the international choir festival. This research aims to figure out: a) the local style representation in the Cingcangkeling performance at international choir festivals; b ) the relationship between local styles represented in the Cingcangkeling pe

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Saiful, Abizar Algifari, and Yudi Sukmayadi. "Guntur galunggung song: text and symbolic meaning review." Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni 18, no. 2 (2023): 95–112. http://dx.doi.org/10.33153/dewaruci.v18i2.4569.

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Mang Koko's 'Guntur Galunggung' is one of the most evocative and innovative songs in Sundanese music, created in response to the 1982 eruption of Mount Galunggung. This song represents a collaborative effort between Sundanese writer Wahyu Wibisana and musical artist Mang Koko, showcasing uniqueness in its thematic background, musical arrangement, and lyrical meaning. The research employs descriptive analysis, focusing on data processing through content analysis of music manuscripts. Data collection methods include observation, interviews, and literature studies. This analysis provides an in-de

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Nurzaini, Mayang Amalia. "ANALISIS FIGUR AMBU DALAM PROSESI MAPAG PANGANTÉN SUNDA." Paraguna 10, no. 2 (2023): 51. http://dx.doi.org/10.26742/paraguna.v10i2.2945.

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Mapag Pangantén is a bride and groom welcoming procession what  be held at a Sundandese wedding party. The bride and the groom  would welcomed with traditional music and dance performance.  This procession appeared in the 1920s and continues to grow until  now. The development includes various aspects, one of which is  appeared of Ambu’s figure on Mapag Pangantén procession. Ambu  is a Léngsér’s wife who have humorous character. But in reality,  representation of Ambu’s figure often contradict with the concept  of Sundanese culture and norms in s

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Aziz, E. Aminudin. "BUDAYA INTI, SIKAP BAHASA, DAN PEMBANGUNAN KARAKTER BANGSA: KASUS PENUTUR BAHASA-BAHASA DAERAH UTAMA DI INDONESIA." Linguistik Indonesia 31, no. 2 (2013): 115–39. http://dx.doi.org/10.26499/li.v31i2.7.

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This article addresses three main issues in relation to cultureâ€™s core values, language attitude and maintenance, and character building. Using a theory previously developed by Smolicz and Secombe (1985), this study deviced instruments that enabled us to understand respondentsâ€™ perceptions about their cultureâ€™s core values. The respondents were recruited voluntarily from four major speakers of local languages in Indonesia, including speakers of Javanese, Sundanese, Minangnese, and Bataknese. They were given a set of questionnaires and when relevant were interviewed to further clarify the

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ANUGRAH, ILAM, TRIANTI NUGRAHENI, and TATANG TARYANA. "CONSTRUCTION OF SUNDANESE MEN IN THE PENCUG BOJONG DANCE BY GUGUM GUMBIRA." Journal of Dance and Dance Education Studies 4, no. 1 (2024): 70–83. https://doi.org/10.17509/jddes.v4i1.35819.

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The "Pencug Bojong" dance is a dance created by Gugum in late 1986 and early 1987 for male dancers to depict Sundanese men, showing the aesthetic values of the richness and treasures of Sundanese culture. The choreographic movements in the "Pencug Bojong" dance are more adapted from Pencak Silat movements, namely 24 series of movements, including 4 movement categories, namely locomotion, pure movement, gesture and baton signal. The research approach used a qualitative approach using descriptive methods. Data collection techniques use interviews, observation, documentation as well as literature

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아비자르 알기파리 사이풀, 아비자르 알기파리 사이풀, та 유디 수크야마디 유디 수크야마디. "순단 음악 학습 기술의 적응으로서 악보 표기법의 활용". Korean Music Education Society 53, № 3 (2024): 93–114. http://dx.doi.org/10.30775/kmes.53.3.93.

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인도네시아 순단어 음악 학습에서 악보 표기법은 오랫동안 구현되지 않았으며, 망 코코 시대에 이르러서야 교육 활동에 최적화된 이 학습 기술이 구현되었다. 악보를 읽고 쓰는 활동은 익숙해지고 발전시키는 것이 중요하다. 목표는 순단 음악의 과학적 패러다임을 강화하는 것이며, 이를 위한 구현은 순단 음악 연습 및 연구 수준에서 이루어진다. 연구 방법은 사례 연구 설계를 통한 질적 연구로써, 인터뷰, 문헌 연구, 문서 연구 등 다양한 기법을 통해 데이터를 수집하였으며, 또한 콘텐츠 분석 기법을 사용하여 데이터를 분석했다. 이 연구의 결과, 악보 표기법은 망 코코 시대에 수행된 순다네 음악 학습 기술의 적응 단계 중 하나이며, 그의 교육적, 사회문화적 배경은 학생들이 순단 음악을 종합적으로 학습하는 데 있어 악보를 사용하는 것이 중요한 단계라는 사고의 패러다임과 개념을 형성하였다.

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Martinus Eko Prasetyo, Febbri Irawan Yusuf, and Asrullah Ahmad. "PERANCANGAN BUKU CERITA BERGAMBAR BERJUDUL ”ASAL-USUL TARI RONGGENG IBING” UNTUK REMAJA BERUSIA 13-17 TAHUN." Jurnal Dimensi DKV: Seni Rupa dan Desain 8, no. 2 (2023): 203–22. http://dx.doi.org/10.25105/jdd.v8i2.18397.

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Design of a Picture Storybook titled “Origins of the Ronggeng Ibing Dance” for Youth 13-17 Years Old. The Ronggeng Ibing dance is a type of ronggeng art known in the Sundanese community that has developed in the southeastern part of West Java, especially in Ciamis Regency, Banjar City, and Pangandaran Regency. In this Ronggeng Ibing, several female dancers are accompanied by Sundanese gamelan and kawih-kawih (singing) music. Sundanese kawih-kawih as accompaniment to the Sundanese Ibing dance also experienced development with many new kawih-kawih being created. The research method was carried o

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Chung, Ji Pyo. "Knowledge and Power in Indonesian Traditional Music: A Genealogical Approach on the Transformation of the Meaning of Karawitan." Jurnal Kawistara 13, no. 3 (2023): 295. http://dx.doi.org/10.22146/kawistara.83772.

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The term Karawitan is generally known to mean gamelan music, more specifically Javanese, Balinese, and Sundanese gamelan music tuned to slendro and pelog scales. However, the term is discursive and has meaning in wider contexts as well. The term karawitan first appeared during the colonial period in royal courts on Java to indicate Javanese gamelan music. However, through its nation-wide university karawitan programs, the Indonesian government and art academics use the term to refer to all Indonesian traditional music practices (Musik Nusantara).Thisarticle gives a postcolonial account of the

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Williams, Sean, and Philip Yampolsky. "Betawi and Sundanese Music of the North Coast of Java." Yearbook for Traditional Music 30 (1998): 199. http://dx.doi.org/10.2307/768605.

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Maulina, Rini, Setiawan Sabana, Nuning Yanti Damayanti, and Teddi Muhtadin. "Representation of the Meaning of Indung in Artworks." Harmonia: Journal of Arts Research and Education 21, no. 1 (2021): 68–78. http://dx.doi.org/10.15294/harmonia.v21i1.29800.

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Indung means mother in Sundanese. Indung in Sundanese culture is found in Paribasa, Babasan, Carita Pantun, Waditra (Sundanese traditional musical instrument), traditional ceremonies, and others. The word indung, which is found in almost all elements of Sundanese culture and manifests in Sundanese artifacts, has an invisible meaning. The meaning of indung in the perspective of Sundanese culture that exists in today’s society has not been explored. The meaning of indung from a cultural perspective needs to be searched for. There have not been found artworks with the theme of indung from a Sunda

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Williams, Sean, and Andrew N. Weintraub. "Wayang Golek: The Sound and Celebration of Sundanese Puppet Theater." Yearbook for Traditional Music 34 (2002): 223. http://dx.doi.org/10.2307/3649215.

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Arifitama, Budi, and Ade Syahputra. "Cultural Heritage Digitalization on Traditional Sundanese Music Instrument Using Augmented Reality Markerless Marker Method." Jurnal Teknologi dan Sistem Komputer 5, no. 3 (2017): 101–5. http://dx.doi.org/10.14710/jtsiskom.5.3.2017.101-105.

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Research into cultural heritage which implements augmented reality technology is limited. Most recent research on cultural heritage are limited on storing data and information in the form of databases, this creates a disadvantage for people who wants to see and feel at the same moment on actual cultural heritage objects. This paper, proposes a solution which could merge the existing cultural object with people using augmented reality technology. This technology would preserve traditional instrument in the form of 3D object which can be digitally protected. The result showed that the use of aug

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Latifah, Diah. "Sundanese Traditional Tone Sensitivity-Based Audiation Model of Salendro Musical Scale." Harmonia: Journal of Arts Research and Education 16, no. 2 (2017): 172. http://dx.doi.org/10.15294/harmonia.v16i2.7542.

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<p>This study is aiming at finding out the audiation model of salendro musical scale and teaching it to the non-Sundanese learners. Treatment done to the learners whose hearing sensitivity has not been familiar with salendro tone during the audiation practice. A method implemented in the study was grounded theory. It was used to explore initial audiation theory from Edwin E. Gordon in Syntax Learning Sequence in Music that was adjusted with learning stages of salendro tone. This study resulted in an audiation model of salendro tone to sharpen hearing sensitivity of non-Sundanese learners

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Herliana, Irma, Uswatun Hasanah, and Dewi Arianti. "The Effect of Music Instrument Kacapi Suling "Ayun Ambing" Towards Reducing Blood Pressure of Hypertension." Jurnal Ilmiah Ilmu Keperawatan Indonesia 12, no. 01 (2022): 16–24. http://dx.doi.org/10.33221/jiiki.v12i01.1774.

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Background: Hypertension is still the most common complaint in Indonesia. Apart from causing some discomfort, complications of hypertension are also considered to be life-threatening. One therapy that can be used to lower blood pressure is music therapy. Kacapi suling is one of the traditional Sundanese music that is popular among the Sundanese people with a frequency of 50–75 Hz, 121 Kilobytes per second (Kbps), 76 decibels with a slow tempo. Objective: This study aims to find out the effect of kacapi suling instrument music therapy on blood pressure in hypertensive patients. Meth

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Iqbal Maulana Sidik, Sri Resti Sulistiawati, Nurul Hikmah, and Herliana Herliana. "Analisis Unsur Intrinsik Dan Unsur Ekstrinsik Pada Pupuh Kinanti Dan Pupuh Balakbak." Inspirasi Dunia: Jurnal Riset Pendidikan dan Bahasa 3, no. 4 (2024): 165–74. https://doi.org/10.58192/insdun.v3i4.2865.

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Sundanese culture is one of Indonesia's rich and unique cultures. Sundanese culture is known as a culture that upholds high manners. Sundanese has very diverse arts, for example pupuh, pupuh can be categorized as one of the Sundanese arts. Pupuh is an inseparable part of Sundanese tradition and culture, so preserving it means preserving cultural heritage. Pupuh is also a traditional poetic work in Sundanese literature that has characteristics that have certain rules such as the number of syllables (guru wilangan), the final sound of the word (guru lagu), and the number of lines (pada lisan) in

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Fausta, Ega. "Konsep Laras Salendro R.M.A. Koeosoemadinata pada Angklung Pentatonis Ragam Laras." Jurnal Kajian Seni 5, no. 2 (2020): 150. http://dx.doi.org/10.22146/jksks.45536.

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Pentatonic Angklung with variety of tunings (APRL) is one of the angklung innovation products which is created in 2017 through an experimental process by Endah Irawan et.al. Generally, it is an ansamble music consisting of several types of instruments made of bamboo. This ensemble is a recent innovation in the world of traditional Sundanese art because it has distinctive pattern / system of scales which combines several patterns of dissolution in Sundanese karawitan namely Salendro, Degung and Madenda, which are commonly found in different ensembles. This paper will present the concept of diss

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Sopiani, Riscka, Nandang Jamiat, and Sajodin Sajodin. "Effect of Combining Isometric Handgrip Exercise with Sundanese Degung Instrumental Music on Blood Pressure Changes in Elderly People with Hypertension." Jurnal Berita Ilmu Keperawatan 17, no. 1 (2024): 17–25. http://dx.doi.org/10.23917/bik.v17i1.3209.

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Hypertension is defined as a condition that blood pressure is more than 140/90 mmHg. Because the aging process causes blood vessels to stiffen and the elasticity of the ventricular walls to decrease, the elderly are categorized as a health susceptible category. This disorder can lead to hypertension, which can have catastrophic effects such as stroke and even death. The purpose of this study was to determine isometric handgrip exercise (IHE) therapy accompanied by degung instrumental music affects blood pressure changes in elderly people with hypertension. A quantitative design with a quasi-ex

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Sasaki, Mariko, and Juju Masunah. "A Review of The Sundanese Scale Theory." Harmonia: Journal of Arts Research and Education 21, no. 2 (2022): 318–29. http://dx.doi.org/10.15294/harmonia.v21i2.32995.

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This article aims to discuss Kusumadinata’s scale theory in Sundanese music which has been taught in educational institutions in West Java, Indonesia. According to Kusumadinata’s scale theory, sorog and pelog are scales derived from salendro scale in gamelan salendro performance. In my previous research, I investigated three genres of Sundanese performing arts which have existed since the Hindu era, namely goong renteng, pantun, and tarawangsa. The results indicate that the pelog scale has independently existed since the Hindu era. Then, I analyzed the phenomenon that occurs in the gamelan sal

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Nugroho, Mukhlis Anton, Sunarmi, and Santosa Soewarlan. "PUSPA KARIMA DALAM STIGMA GENDER MENUJU PANGGUNG INTERNASIONAL." Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi 23, no. 2 (2024): 192–201. http://dx.doi.org/10.33153/keteg.v23i2.5732.

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The rapid development of the digital era has changed the view of women's roles that were previously confined to household responsibilities, and now the stigma is starting to erode. In Javanese culture, there is the concept of "kanca wingking" which refers to the role of women at home to perform tasks such as cleaning, cooking, taking care of children, and so on. However, with the advent of the women's emancipation movement, the stigma has begun to fade as many women have careers. The same thing happened in the traditional music scene in West Java. Gender stigma also emerged by prohibiting wome

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Setiaji, Denis. "MODEL KOMPOSISI MUSIK TERAPI RELAKSASI UNTUK IBU HAMIL BERBASIS IDIOM MUSIKAL KARAWITAN." Acintya : Jurnal Penelitian Seni Budaya 13, no. 1 (2021): 15–27. http://dx.doi.org/10.33153/acy.v13i1.3818.

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ABSTRAK Penelitian ini mencoba untuk melakukan formulasi dalam menciptakan musik yang dapat dijadikan sarana terapi untuk menekan tingkat kecemasan serta memberikan rasa tenang dan nyaman terhadap pendengarnya khususnya ibu hamil. Target jangka panjang dari riset ini ialah bagaimana dampak dari musik terhadap psikologi ibu hamil diharapkan mampu memberikan efek positif terhadap ibu maupun janin yang sedang dikandung. Target jangka pendek yang dihasilkan dari riset dalam proposal berikut yakni mencoba melakukan analalisis kompositoris dan mencermati kaidah-kaidah musik terapi yang dikombinasika

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Williams, Sean, and Wim Van Zanten. "Sundanese Music in the Cianjuran Style: Anthropological and Musicological Aspects of Tembang Sunda." Yearbook for Traditional Music 24 (1992): 159. http://dx.doi.org/10.2307/768479.

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Weintraub, Andrew N. "Theory in Institutional Pedagogy and "Theory in Practice" for Sundanese Gamelan Music." Ethnomusicology 37, no. 1 (1993): 29. http://dx.doi.org/10.2307/852243.

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Narawati, Tati, and Rivaldi Indra Hapidzin. "The image of Sundanese women in the Jaipongan dance of Mojang Priangan." SHS Web of Conferences 197 (2024): 03007. http://dx.doi.org/10.1051/shsconf/202419703007.

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This study aims to analyze the ideal image of Sundanese women depicted in the song “Mojang Priangan” from 1960 and in the “Mojang Priangan” dance performed in the Jaipongan genre in 2000. Dance and song as cultural products embody cultural values that have historically evolved due to various influences. Understanding the cultural and historical context underlying these songs and dances requires a deep analysis of the song lyrics and dance choreography. This research employs an ethnochoreological approach, combining ethnic dance studies with ethnomusicological analysis to understand the relatio

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Sugiarta, Nugraha, Nissa Agustin, and Shinta Hartini Putri. "Traditional Artists Perceptions of Regional Arts." Social Science and Humanities Journal 6, no. 7 (2022): 2823–32. https://doi.org/10.18535/sshj.v6i7.595.

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Reak art is a regional art originating from West Java, reak art itself is included in the helaran art show which means art that runs with a treat of regional art attractions accompanied by music and dance. This study uses qualitative methods with the research design of Alfred Schutz phenomenology. Data collection techniques were conducted by interviews, observations, reference books, previous research thesis and the internet. Informant determination technique is done by purposive sampling and data validity technique using source triangulation. The result of this study is that the artists have

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Spiller, Henry, and Philip Yampolsky. "Betawi and Sundanese Music of the North Coast of Java: Topeng Betawi, Tanjidor, Ajeng." Asian Music 30, no. 1 (1998): 205. http://dx.doi.org/10.2307/834273.

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Kartomi, Margeret, and Andrew N. Weintraub. "Wayang Golek: The Sound and Celebration of Sundanese Puppet Theater." Ethnomusicology 47, no. 3 (2003): 423. http://dx.doi.org/10.2307/3113952.

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Supriatna, Nanang, Hafizhah Insani Midyanti, and Enry Johan Jaohari. "Website-based learning media design on gamelan laras salendro." SHS Web of Conferences 197 (2024): 03003. http://dx.doi.org/10.1051/shsconf/202419703003.

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This research aims to develop a website-based gamelan learning media design that can be used for remote gamelan learning and can be accessed by all people who want to know and learn about gamelan Laras Salendro via smartphone or computer/laptop. The specific objective of this study is that students and the public can learn, explore, and experiment with the Sundanese gamelan Laras Salendro, which is equipped with several illustrations and waditra sounds, as well as an encyclopedia about the Sundanese gamelan Laras Salendro. The research approach used is Design-Based Research, where this method

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Sutton, R. Anderson, and Wim van Zanten. "Sundanese Music in the Cianjuran Style: Anthropological and Musicological Aspects of Tembang Sunda." Ethnomusicology 35, no. 2 (1991): 282. http://dx.doi.org/10.2307/924742.

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Weintraub, Andrew N. "Tune, Text, and the Function of Lagu in Pantun Sunda, a Sundanese Oral Narrative Tradition." Asian Music 26, no. 1 (1994): 175. http://dx.doi.org/10.2307/834389.

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Supiarza, Hery, and Harry Tjahjodiningrat. "Repertoar Musik Keroncong Dengan Menggunakan Idiom Musik Sunda: Implementasi Model Pembelajaran Kolaborasi pada Mata Kuliah Sejarah Analisis Musik Indonesia di Departemen Pendidikan Musik FPSD UPI Bandung." Resital: Jurnal Seni Pertunjukan 21, no. 3 (2021): 127–37. http://dx.doi.org/10.24821/resital.v21i3.4740.

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Analysis at the Department of Music Education, FPSD, Universitas. Pendidikan Indonesia This study discusses the Implementation of Collaborative Learning Models in the History course of Indonesian music analysis at the Department of Music Education, UPI Baandung FPSD. The researcher as a lecturer in this course intends to add to the repertoire of keroncong songs, which since the 1980s keroncong song production has stalled due to competition in the Indonesian music industry. The Action Research method was used in this study to develop students' abilities in creating keroncong songs. 7 stages are

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Hayward, Sean, and Darno Kartawi. "Calung Banyumasan: Borderland Identity Through the Lens of Musical Technique." Malaysian Journal of Music 12, no. 2 (2023): 61–75. http://dx.doi.org/10.37134//mjm.vol12.2.4.2023.

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The music of the Banyumas region in west Central Java contains a complex blend of cultural influences, spurred on by the influence of neighbouring regions, the institutionalisation of Javanese classical music and the spread of recording technology. The bamboo calung ensemble is viewed as traditional; however, most of the standard techniques, instruments and forms are relatively modern. Specifically due to this artificiality and resultant flexibility, the musical techniques that have become standard practice in calung can be used as a lens through which to view local identity and representation

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