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Journal articles on the topic 'Sundanese Music'
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Nurwansah, Ilham. "Penelusuran Jejak Musik Instrumental dalam Naskah Sunda Kuna." Manuskripta 10, no. 1 (August 25, 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 still known and used today with or without changes. Others are no longer known. Old Sundanese musical instruments are played alone or in groups, either on a stage or a parade. Its function is to accompany entertainment and also to accompany the ritual process. The basic material for the body of the musical instrument used is generally bronze metal and wood, including bamboo.
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Abstrak: Hingga awal abad ke-20 wilayah Sunda dianggap tidak memiliki sejarah musik, padahal informasi demikian antara lain terdapat dalam naskah Sunda Kuna. Penelitian sejarah musik Sunda pun tampaknya belum banyak yang menggunakan sumber tekstual Sunda Kuna. Tulisan ini membahas aspek-aspek musik instrumental yang terdapat pada teks-teks Sunda Kuna mencakup istilah yang digunakan untuk menyebut musik dan jenis-jenis alat musik yang digunakan. Sumber-sumber yang digunakan yaitu teks Sunda Kuna dari masa pra-Islam antara abad ke-15 sampai abad ke-17 M. Beberapa instrumen musik Sunda Kuna masih dikenal dan digunakan hingga sekarang dengan atau tanpa perubahan. Sebagian lainnya sudah tidak dikenal. Instrumen musik Sunda kuna ada yang dimainkan sendiri maupun berkelompok, baik pada sebuah panggung maupun parade. Fungsinya untuk mengiringi hiburan dan juga mengiringi proses ritual. Bahan dasar badan alat musik yang digunakan umumnya berupa logam perunggu dan kayu-kayuan, termasuk bambu.
Keywords: Old Sundanese, music, instrumental.
Kata Kunci: Sunda Kuna, musik, instrumental.
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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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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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Permas, Imas, Asep Kosasih, Gan Gan Garmana Gardea, Kondin Herdinan, Endang Sukendar, Wu Man, and Chogyal Namkhai Norbu Rinpoche. "Tembang Sunda: Sundanese Classical Songs." Musical Times 134, no. 1809 (November 1993): 658. http://dx.doi.org/10.2307/1002813.
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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 (October 29, 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 Javanese music from Central Java and Sundanese music from West Java, into the Javanese Idiomatic Melody in traditional Thai music and Angklung Thai style. Indonesian music was seriously and forcefully deculturated. Playing technique has been adjusted to suit Thai music playing. Tuning system of Javanese Gamelan in Thailand has been fine tuned to conform to that of Thai music. Physical appearance of Sundanese Angklung has been replaced with Angklung Thai style. Javanese song have undergone music elaboration and rewritten to satisfy Thai musicians, with approval from elite Thai musicians and previous Thai music institutes together with Thai people in the society.
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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 (May 11, 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 group and control group. Anxiety was measured using Hamilton Anxiety rating Scale (HARS). Data were analyzed using Wilcoxon and Mann-Whitney test.Results: The results showed an average decrease in anxiety value in the experiment group of 10.28, and in the control group of 3.25. Mann-Whitney test results obtained p value <0.001, which indicated that there was a significant difference of mean decrease between the experiment group and the control group.Conclusion: This study proves that the intervention of Sundanese kacapi music significantly decreasing anxiety levels (p <0.001) in pre-cardiac catheterization patients. It is suggested that Sundanese kacapi music can be used as an alternative therapy in the independent nursing interventions.
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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 (July 12, 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 boundaries. Emergent Indonesian political developments shape these processes.
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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 (December 24, 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 showed two things. First, the Sundanese Song of Cianjuran contains the value both in lyrics and music accompaniment, in the lyrics have meaning is quite diverse, whereas the musical accompaniment contains any value in the form of symbolic treatment. Second, the process of inheritance value, on the one hand, occurs at certain times through a casual chat after training Sundanese Song of Cianjuran finished, and on the other hand, the value of inheritance is one drawback in the regeneration of Sunda Cianjuran song, because teachers tend to pass on the skills aspect alone.</p>
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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 (July 31, 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 augmented reality on preserving cultural heritage would benefit people who try to protect their culture.
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Herlinawati, Lina. "FUNGSI KARINDING BAGI MASYARAKAT CIKALONGKULON KABUPATEN CIANJUR." Patanjala : Jurnal Penelitian Sejarah dan Budaya 1, no. 1 (March 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 menarik, karena dapat dikola-borasikan dengan alat-alat musik lain. AbstractKarinding is a traditional music instrument, which is made from bamboo or palm leaf. This music instrument is played by mouth, alongside with tap from finger, creating an unique, low decible sound.This music instrument is created by the Sundanese farmer ancestor. In addition to its function as a music instrument, the sound of this instrument is believed as a pest repellant. This specific function is still believed by the people of Cikalong Kulon in Bandung Residence.Along with time, karinding developed into an entertainment tool, even as an attractive form of art because its combinable with other music instrument.
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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 (December 31, 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 pre eksperimental dengan rancangan one group pre and post test design. Jumlah sampel adalah 13 responden. Teknik pengambilan sampel secara non probability sampling dengan teknik purposive sampling. Analisis data dilakukan dengan dua tahap yaitu univariat dan bivariat (uji t-dependent). Hasil: penelitian menunjukan bahwa ada perbedaan tekanan darah sistolik (p value 0.0001) dan diastolik (p value 0.001) sebelum dan setelah diberikan terapi musik tradisional kecapi suling Sunda. Diskusi: penelitian ini dapat digunakan sebagai bahan masukan bagi PSTW Budi Pertiwi Bandung bagi perawat pelaksana untuk dapat diaplikasikan sebagai pilihan dari salah satu penanganan non farmakologi pada lansia dengan hipertensi. Kata kunci            : terapi music, kecapi suling Sunda, tekanan darah, lansia  ABSTRACT Introduction: Hypertension is one of the risk factor of heart and blood vessels diseases which is categorized as the silent killer. There are two ways to manage the hypertention, namely the pharmacological and non-pharmacological interventions. One of the non-pharmacological intervention is relaxation techniques through Sundanese traditional kecapi suling music therapy. Objective: The purpose of this study is to determine the effect of Sundanese traditional kecapi suling music on blood pressure of the elderly with hypertension in PSTW Pertiwi Bandung. Methods: The research design using pre-experimental with one group pre and post test design. The number of samples were 13 respondents. Sampling technique used was non-probability with purposive sampling technique. Data analysis was done in two stages, univariate and bivariate (t-dependent test). Result: the study had shown that there was differences in systolic (p value 0.0001) and diastolic (p value 0.001) blood pressure before and after intervention. Discussion: It suggested that the result of this research will be used as an input for PSTW Pertiwi Bandung and for nurses to apply this intervention as one of non-pharmacological intervention in managing the high blood pressure among elderly. Keywords: blood pressure, elderly, music therapy, sundanese traditional kecapi suling  Full printable version: PDF
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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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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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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 (June 7, 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 Sundanese cultural perspective, so it is necessary to explore representations in artworks. This study employs the Art-based Research method, in which an investigation is carried out on the data, and the results are represented in artworks. Through questionnaires, interviews, and literature studies, the meaning of indung is extracted and then tabulated to be classified and analyzed. The results of data processing showed that indung has many meanings, the result of converging data from the literature, questionnaire and interview the whole there are 17 meanings, among which the nurse, angel, house, huge, source of life, earth, embrace, harmony, the center of life, and love. The results of data processing are represented in artworks. Artworks made based on the meaning of indung are limited to three titles, namely Sumber Kehidupan (Source of Life), Merangkul (Embracing), and Rumah yang Hangat (Warm Home). The visual exploration contained in the three titles is made using stylized forms with a decorative style, using elements of motifs and colors from West Javanese batik. The media and techniques used are found in written batik. The results of the visualization of the meaning of indung of the three artworks that are created can be concluded that the meaning of indung cannot be symbolized singly.
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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 (January 29, 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 who had not been familiar with salendro tone.</p>
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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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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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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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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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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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Weintraub, Andrew N. "Instruments of Power: Sundanese "Multi-Laras" Gamelan in New Order Indonesia." Ethnomusicology 45, no. 2 (2001): 197. http://dx.doi.org/10.2307/852673.
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Saepudin, Asep, and Ela Yulaeliah. "The Jaipongan Drumming Strokes in Lagu Gedé in Sundanese Gamelan." Harmonia: Journal of Arts Research and Education 21, no. 1 (June 7, 2021): 43–59. http://dx.doi.org/10.15294/harmonia.v21i1.28206.
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This paper aims to describe the Jaipongan drumming strokes in Lagu Gedé. Lagu Gedé is a type of song in Sundanese Karawitan that has a large embat (rhythm). This song includes a dish of drums vocals accompanied by gamelan pelog-salendro with characteristics that have tone, barrel, surupan, embat, gending, slow tempo, embat opat wilet, and bound by the standard rules. Observations were made by appreciating Jaipongan’s performances in Bandung and Karawang. Besides, the author conducts interviews with several primary informants who are directly involved in the arrangement of Jaipongan. Gedé’s point here is to look at it with a smooth, soft, slow serving. The Kiliningan genre has a specific punch motif name for Gede’s song. The name of this variation is called tepak melem. Melem has a delicious or gentle meaning. Tepak melem to accompany Sekar Gending songs in Kiliningan genre. The phenomenon that happens that Lagu Gede is served in Kiliningan dish and used to attend Jaipongan dance. When Jaipongan’s work uses Gedé’s song, it generates innovations. Gedé’s song is no longer presented with a glued drum but with a tepak diteunggeul. Diteunggeul contains the meaning of being hit hard, powerful, dynamic, and fast. This research concluded that jaipongan drumming strokes in Lagu Gedé is realized that drummers and dancers must explore many spaces because it has the freedom to work. After all, they present it in an embat opat wilet (big rhythm). This affects the widening of the number of beats, the position of kenongan, pancer, and gongan. Artists have the freedom to do creativity in working on Gede’s songs. The space of artists in their work can ultimately foster new creativity that impacts the growth and development of Sundanese karawitan.
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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 (August 6, 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 used, starting from initial observation, analysis, combining ideas and ideas into big themes, evaluation exercises 1, recording and mastering. The results of this study created 10 keroncong music recordings as a product of a pure repertoire of student collaboration with the Sundanese traditional approach as the basis for creation. Future research will improve the 10 products into a more professional recording result. This research can be a reference for the application of collaborative learning models to create student work and creations in the arts.
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Budhi, Ni Gusti Made Ayu Agung, and Ni Nyoman Sasnitiari. "The Effect of Sundanese Instrumental Music Therapy and The Provision of Spicy Drinks on Pain Intensity and Labor Duration." Journal of Midwifery 6, no. 1 (July 7, 2021): 23. http://dx.doi.org/10.25077/jom.6.1.23-34.2021.
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The pain in labor due to contractions and the process of expelling the baby cannot be avoided by the mother. One way to reduce pain intensity non-pharmacologically is music therapy and the provision of spice drinks. music therapy can reduce stress and anxiety levels, especially during childbirth, while herbal drinks derived from ginger are analgesic, as well as cinnamon and cloves, can relieve pain. The research method is “Quasi experimental pre-post test with control group design. The intervention group was Sundanese instrumental music therapy with spice drinks and the control group was only given spice drinks, which was carried out on mothers giving birth during an active phase. The population is all mothers giving birth in BPM Bogor area. The sample size of the average difference test of two paired groups is 15 respondents in each group. The results showed a decrease in labor pain in the active phase of the first stage in the intervention group with p = 0.016. This shows that there is an effect of giving music therapy and spice drinks on the intensity of labor pain as assessed by the Visual Analog Scale (VAS), and there is no significant change in the decrease in labor pain during the active phase of labor, in the control group (p>0.05). There was no significant result on the length of labor with p = 0.439 (p > 0.05). This means that both the control and intervention groups did not show a difference in the time/length of labor
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Susanti, Santi, and Dian Wardiana Sjuchro. "Saung Angklung Udjo: Wisata dan Pelestarian Budaya." Jurnal Ilmu Politik dan Komunikasi 9, no. 2 (December 31, 2019): 35–43. http://dx.doi.org/10.34010/jipsi.v9i2.2467.
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Introducing traditional art to millennials is not easy, because it requires innovation and the ability to adapt to current conditions. Saung Angklung Udjo (SAU) has succeeded in breaking the boundary through performing arts that are held in Saung as well as in several events at home and abroad. This paper aims to describe the struggle of Udjo Ngalagena to make traditional music known and sought after by the world community and how Saung Angklung can become a cultural tourism destination that has a role in preserving traditional culture. Using the qualitative-fenomenology method, data were obtained through interviews, observations and documents and literature related to Saung Angklung Udjo. Based on data processing results, as a tourist location, SAU has become a cultural tourism destination that introduces the cultural of Sundanese people in the form of art, especially angklung, through performances by children and teenagers accompanied by angklung music. There are also bamboo craft workshops and the Bamboo Crafts Center Shop which provides bamboo handicraft merchandise that visitors can buy. As a cultural preservation area, SAU performs regularly and pass down cultural traditions to children by educating them Sundanese art and angklung traditions for free. The children will perform in the show, given honorariums until given tuition assistance. Saung Angklung was established as Udjo's effort to unite the love of children, traditional arts, flora and fauna, nature, and environment into harmony, which is comfortable to see, hear and feel
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Julia, Julia. "Pasanggiri Damas: A Strategy To Preserve Tembang Sunda Cianjuran Art in West Java, Indonesia." KOMUNITAS: International Journal of Indonesian Society and Culture 10, no. 1 (September 4, 2018): 44–52. http://dx.doi.org/10.15294/komunitas.v10i1.13019.
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This article aims at analyzing a vocal contest of a traditional musical art genre namely Tembang Sunda Cianjuran (Cianjur Sundanese Traditional Song) in West Java, Indonesia. The contest, also known by the term PTSC DAMAS, had been held continuously since 1962 by youth social organization called DAMAS (Daya Mahasiswa Sunda). The study was conducted using qualitative approach. Data was collected through observation, interviews, and documentation. Data analysis was conducted by using an interactive model. The results show that PTSC DAMAS has greatly affected the preservation and development of the Tembang Sunda Cianjuran, not only in the music accompaniment but also vocal aspects. Various parties has been very supportive of PTSC DAMAS, thus the contest can be carried out consistently.
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Pramudya, Nicolas Agung. "Penciptaan Karya Komposisi Musik Sebagai Sebuah Penyampaian Makna Pengalaman Empiris Menjadi Sebuah Mahakarya." Gelar : Jurnal Seni Budaya 17, no. 1 (August 6, 2019): 14–23. http://dx.doi.org/10.33153/glr.v17i1.2597.
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ABSTRAK Komposisi Musik “Katur Ibu” adalah komposisi musik yang ide penggarapannya berangkat dari sebuah cinta, pengorbanan dan kasih sayang yang dikemas dengan format tradisi dan modern menghadirkan warna baru dalam komposisi penciptaan, yang membentuk sebuah karya musik yang utuh. Jenis karya seni tidak menata pada kejadian menurut alur yang sebenarnya akan tetapi lebih kepada suasana yang mendukung. Komposisi musik “Katur Ibu” terdiri dari 5 bentuk utama dengan menggunakan tempo Allegro, moderato, adagio, andante, dan vivance, yang dapat menggambarkan suasana tenang, sedih, gembira dan semangat, pengkarya maknai sebagai guratan sisi pandang terhadap realita yang terlintas dalam fikiran pengkarya seperti emosi penyesalan, kegamangan, ketulusan dan impian. Penyajian komposisi musik “Katur Ibu” memakai beberapa instrument pokok dan intrumen pendukung yaitu, Piano sebagai melodi utama, flute, bass elektrik, drum pad DTX, saron, bonang, kendang Sunda dan keyboard sebagai Accompainement dalam komposisi musik yang dikemas dalam konsep pertunjukan ini. Kata kunci: Komposisi, pengalaman empiris, Katur Ibu. ABSTRACT “Katur Ibu” Music Composition is a musical composition which the cultivation ideas depart from a love, sacrifice and affection that is packaged in a traditional and modern format presenting a new color in the composition of creation, which forms a complete musical work. types of artworks do not arrange the events according to the actual plot but rather to the atmosphere that supports it. The musical composition “Katur Ibu” consists of 5 main forms using tempo Allegro, moderato, adagio, andante, and vivance, which can describe the atmosphere of calm, sadness, joy and enthusiasm. The composer means as a side view of reality that comes to mind such as emotions of regret, anxiety, sincerity and dreams. The presentation of “Katur Ibu” music composition uses several basic instruments and accompanying instruments, including, Piano as the main melody, flute, electric bass, DTX drum, saron, bonang, Sundanese drum and keyboard as Accompainement in the musical composition that is packaged for the show. Keywords: Composition, empirical experience, Katur Ibu.
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Lahpan, Neneng Yanti Khozanatu. "Producing Appropriation: Negotiating Islam-Sunda in Terebang Sejak." International Journal of Nusantara Islam 2, no. 2 (April 20, 2015): 31–44. http://dx.doi.org/10.15575/ijni.v2i2.147.
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This article is an ethnographic account of my research on negotiating Islam and Sunda in Islamic Sundanese music. By taking special case of Terebang Sejak, I draw my attention on the issue based on my fieldwork in Cikeusal village, TasikMalaya, West Java. Observations and interviews are the main tools I used in gathering information. By presenting particularity of Terebang Sejak, this paper aims to present complexity and negotiations that are formed from the interaction between Islam and Sunda in the music in the village. In this context, presenting the idea of the truism of marginalizing Islam on local culture is in accordance with the idea of Indonesian modernity, which has parallelism with the mission of modernist Islam. While many scholars describe Islam in Indonesia with the idea of syncretism to depict the religion as ‘not really Islam’, in this article I provide different interpretation of localizing Islam by which people produce their own interpretation and appropriation in response to social and political changes in their environs. This interpretation will contribute to new understanding in addressing the particularity of meanings based on local knowledge, among Cikeusal people that forms what coded as ‘identity’ of being Muslim-Sunda. Here, Islamic text of Kitab Mulud in the music has played an agentive role to acknowledge the music as Islamic, thus continues to be part of ritual.
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Cook, Simon. "The song is the thing:Patokan, Alur Laguand the impact of the female vocal soloists on Sundanese instrumental music." Contemporary Theatre Review 11, no. 1 (January 2001): 67–97. http://dx.doi.org/10.1080/10486800108568611.
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Fadillah, Riyanti Nurina, and Widiati Isana. "Perubahan Musik Calung Punklung Menuju Musik Modern (Parakan Muncang-Kabupaten Sumedang Tahun 2003-2010)." Historia Madania: Jurnal Ilmu Sejarah 4, no. 2 (September 17, 2020): 313–34. http://dx.doi.org/10.15575/hm.v4i2.9498.
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Calung art is one of the original arts typical of the West Java region and has existed since ancient times, and is commonly used during traditional ceremonies such as traditional ceremonies offered to Dewi Sri or better known as traditional ceremonies "seren taun". In this traditional ceremony the calung art became one of the supporting musical instruments played in the ceremonial process. However, it cannot be denied that this era which is increasingly developing into modern day more or less makes the existence of this calung experience a shift. This study aims to determine how the history of Calung Punklung's music and the process of its change to modern music. The research method used in this study is a qualitative method by collecting sources of literature coupled with sources of interviews and documentation. The analysis technique used is by using heuristic methods, criticism, interpretation and historiography. The results of this study show that the presence of the Calung Punklung music group is an effort to preserve Sundanese culture in the arts in particular. As for the changes made by the Punklung Clung group, this has only just happened in the aspect of bringing the genre of the song that was sung and how to dress when the performance.
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Dwiyanti, Revi, and Agus Suherman. "Unsur Budaya Dalam Cerita Film Cakra Buana Karya Sutradara Massimo Burhanuddin." LOKABASA 10, no. 2 (November 20, 2019): 204–13. http://dx.doi.org/10.17509/jlb.v10i2.21361.
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This research is motivated by the lack of research on film that uses Sundanese language and cultural settings. This study aims to describe the cultural elements that exist in the Cakra Buana film story. The method used in this research is descriptive analysis with document study techniques in the form of artwork. The data source in this study is the story of the film Cakra Buana by director Massimo Burhanuddin. The results of the study include 7 cultural elements, including: language, this film uses Sundanese language and undak usuk basa, knowledge systems are divided based on knowledge about nature and social, social organizations include government systems, how to replace leaders and designations of kinship, technological systems including tools, food, clothing, houses and means of transportation, the livelihood system that is farming, the religious system is still influenced by Hinduism and Buddhism because it uses the word "Sang Hyang" in mentioning the name of God, and there are 2 arts in this film namely music and art motion (traditional dance).AbstrakPenelitian ini dilatarbelakangi oleh kurangnya penelitian tentang perfilman yang menggunakan bahasa dan latar budaya Sunda. Penelitian ini bertujuan untuk mendeskripsikan unsur budaya yang ada dalam cerita film Cakra Buana. Metode yang digunakan dalam penelitian ini adalah deskriptif analisis dengan teknik studi dokumen yang berupa karya seni. Sumber data dalam penelitian ini yaitu cerita film Cakra Buana karya sutradara Massimo Burhanuddin. Hasil penelitian meliputi 7 unsur budaya, diantaranya: bahasa, film ini menggunakan bahasa Sunda serta menggunakan undak usuk basa, sistem pengetahuan dibagi berdasarkan pengetahuan tentang alam dan sosial, organisasi sosial meliputi sistem pemerintahan, cara mengganti pemimpin dan sebutan kekerabatan, sistem teknologi diantaranya perkakas, makanan, pakaian, rumah dan alat transportasi, sistem mata pencahariannya yaitu bercocok tanam, sistem religinya masih ada pengaruh dari ajaran Hindu dan Buddha karena menggunakan kata “Sang Hyang” dalam menyebutkan nama Tuhan, dan kesenian dalam film ini ada 2 yaitu seni musik dan seni gerak.
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Ninin, Retno Hanggarani, and Roswita Amelinda. "Bisakah Angklung menjadi Instrumen Psikoedukatif? Studi Eksploratif pada Pemain Angklung." Jurnal Psikologi Islam dan Budaya 2, no. 2 (October 23, 2019): 11–22. http://dx.doi.org/10.15575/jpib.v2i2.5574.
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Angklung is a unique traditional Sundanese music instrument involving a number of people to play it to produce a musical appearance. This uniqueness may indicate that angklung is not only an instrument of art, but also a psychoeducation instrument. This study explores the experience of angklung players in playing angklung and proves the use of angklung as a psychoeducation instrument. This study used explorative qualitative approach on seven angklung players. The results identify types of angklung player experience: audio-emotional, interactional (fellow players or coaches), and personal (interest, awareness, failure). Prerequisites of the use of psychoeducation instruments including the conversion of the role of the trainer to the educator, identifying specific behaviors in playing angklung as a simulation of the reality of social interaction, and providing instructions on how to play angklung optimally based on their parts. Angklung has psychoeducation potential to develop psychosocial skills (hablumminannaas) and servitude to God (hablumminnallah).
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Nurrachman, Dian, Hasbi Assiddiqi, Rohanda Rohanda, and Deden Hidayat. "THE STRUCTURE AND MEANING OF KAWIH IN RONGGENG GUNUNG PERFORMANCE." PARADIGM 2, no. 2 (November 30, 2019): 121. http://dx.doi.org/10.18860/prdg.v2i2.7627.
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<p align="justify"><em>Ronggeng Gunung</em> is a combined performing art which thrives especially in southern Ciamis (including Pamarican and Banjarsari) and Pangandaran (including Padaherang and Kalipucang). Generally, this is almost the same as the conventional <em>ronggeng</em>, in which a dancer performs while being accompanied by <em>gamelan</em> (Javanese/Sundanese music instrument) and <em>kawih</em> (Sundanese songs). The main <em>ronggeng</em> dancer is a woman who wears a shawl as a part of the dance to invite males to dance with her. Allegedly, in its mythological narratives, <em>Ronggeng Gunung</em> was created from the grief of a princess who lost her beloved husband and her attempt of revenge toward the killer. This paper is actually intended to find out how are the structures and meanings of <em>Kawih</em> as an inseparable part of <em>Ronggeng Gunung</em> performance. This study applies structuralism as both theoretical approach and method, since it provides the theoretical framework to find out both the structural construction and the meaning of the <em>Kawih</em>. The result of this study shows that <em>kawih</em> accompanying <em>Ronggeng Gunung</em> performance represents a passionate romance of solace, unrequited love, as well as the cultural values of modesty, politeness, and the importance of solidarity in facing every problem encountered by human. </p>
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Heryadi, Dindin, and Ela Mutiara. "GANDRA PITALOKA: VISUALISASI KISAH CINTA DYAH PITALOKA DALAM KARYA TARI." Joged 15, no. 1 (December 2, 2020): 20–35. http://dx.doi.org/10.24821/joged.v15i1.4660.
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Gandra Pitaloka merupakan visualisasi kisah cinta Dyah Pitaloka putri dari Kadipaten Pakuan dengan Prabu Hayam Wuruk raja dari Kerajaan Majapahit dalam kronologi peristiwa perang Bubat dalam karya tari. Gandra berarti wujud dan Pitaloka diambil dari nama tokoh sumber cerita yaitu Citra Resmi Dyah Pitaloka. Judul ini mengandung arti wujud Dyah Pitaloka. Karya tari ini terinspirasi secara auditif dari syair lagu Karembong Koneng yang menceritakan tentang peristiwa Perang Bubat antara kerajaan Majapahit dan Kadipaten Pakuan. Karya ini diwujudkan dalam bentuk koreografi kelompok dengan sembilan orang penari. Tipe penyajian yang digunakan yaitu tipe dramatik, serta disajikan dengan elemen pertunjukan wayang golek sebagai pengantar cerita. Gerak-gerak dasar tari Sunda seperti tumpang tali, lontang, dan capang, serta unsur dasar gerak silat di antaranya bandul, nangkis, dan nyabet digunakan sebagai pijakan dasar dalam proses pencarian gerak. Musik pengiring dalam bentuk instrumen musik elektrik atau MIDI (Musical Instrument Digital Interface) dengan menggunakan laras Salendro, Pelog, dan Madenda. ABSTRACT Gandra Pitaloka dance is a visualization of the love story of Dyah Pitaloka daughter of Kadipaten Pakuan with Hayam Wuruk king of Majapahit Kingdom in the chronology of Bubat war events. Gandra which means form and Pitaloka was taken from the name of the story source of the official image Citra Resmi Dyah Pitaloka. This title contains the meaning of Dyah Pitaloka's form. This dance work is inspired by audio from Karembong Koneng song lyrics. This poem tells about the events of the war Bubat between the kingdom of Majapahit and Kadipaten Pakuan. This work is manifested in the form of group choreography with the composition of nine dancers. The presentation type used is the dramatic type. Basic movements of Sundanese dance such as tumpang tali, lontang, and capang, and elementary motion of silat which is bandul, nangkis, and nyabet used as a foundation in the process of searching motion. This work is accompanied by music in the form of an electric musical instrument or MIDI (Musical Instrument Digital Interface) by using barrel Salendro, Pelog, and Madenda. And presented with elements of wayang golek show as an introduction to the story. The purpose of this choreography creation is to visualize the love story of Dyah Pitaloka with Hayam Wuruk through the development of basic movements of Sunda dance. The benefits of the creation of this work are to provide a creative process creation experience with the development of motion that departs from the basic movements of the dance of Sundanese and silat, as a form of appreciation of the character of a princess from Kadipaten Pakuan existing in West Java.
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Mahdiansyah, Mahdiansyah. "Tari Kreasi Babangsai Babanjaran di Sanggar Labastari Kandangan." Pelataran Seni 1, no. 1 (March 17, 2016): 39. http://dx.doi.org/10.20527/jps.v1i1.1450.
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AbstractThis study aims to determine the form of presentation of dance creations Babangsai Bakanjaran terms of the motion structure, musical accompaniment, makeup-fashion, property and the venue. The object of research is descriptive qualitative art gallery Labastari Kandangan in Hulu Sungai Selatan, South Kalimantan Province. Data collection techniques using field observations, interviews and documentation. Based on the survey results revealed that the form of presentation of dance creation Babangsai Bakanjaran motion that has a structure of early motion, motion climax and final movements. Musical accompaniment using isntrumen music like saron, a large baboon, baboon small, luma, Sundanese harp, flute and gongs. Character dressing dancers are beautiful women and handsome men. Clothing female dancers use a skirt, dress spangle, headbands, earrings (bunil), while the male dancers fashion model pants, shirt, belt elongation and laung Banjar. The property used is gandang dayak and karimpit. The venue is flexible or can dance anywhere, to the extent where the show is easily accessible to the audience.Keywords: forms of presentation, structure movement, dance creations, babangsai bakanjaran
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Suhaya, Suhaya, Abdul Rachman, Syahrul Syah Sinaga, and Dandi Musa Alfayad. "Percussion Pattern of Terebang Gede in Panggung Jati Studio, Panggung Jati Village, Serang." Harmonia: Journal of Arts Research and Education 20, no. 2 (December 27, 2020): 223–30. http://dx.doi.org/10.15294/harmonia.v20i2.18067.
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The characteristics of a region become an identity that is certainly inseparable from the noble values it adheres to, including religious values as the foundation for the formation of art of terebang gede in the Panggung Jati studio, Panggung Jati village, Serang, Banten. This study aims to describe the percussion patterns in the art of Terebang Gede both in text and context by using a qualitative paradigm with descriptive analytical methods. As a highlighted theory, ethnomusicology is used to analyze the existence of music in a culture, both from physical aspects and socio-cultural aspects. The data collection technique is done by interview, documentation study, and literature study. The data analysis stages are carried out in the order of data collection, data reduction, data organizing into a pattern, category, and description into basic descriptions that lead to the concluding process. The results showed that the percussion pattern of terebang gede is very simple. The percussion patterns on all existing musical instruments, such as the musical instrument of koneng, kempul, penganak (bibit), interlude, and bass (terebang gede), still follow the framework of the percussion “standard” which is hereditary from previous generations. Until now, this accompaniment without the development of rhythmic variations has been used to accompany syair or sholawat Al-Barzanjiwith with tones of Sundanese-style songs of the salendro type. Changes in accompaniment were not made because this performance was only performed on special occasions for Muslims to broadcast and support worship which was not intended as entertainment music.
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Sabekti, Endra, and Didik Bambang Wahyudi. "ANALISIS GERAK TARI MERAK SUBAL KARYA S. MARIDI PADA SANGGAR SOERYO SOEMIRAT DI SURAKARTA." Greget: Jurnal Pengetahuan dan Penciptaan Tari 19, no. 2 (December 28, 2020): 116–24. http://dx.doi.org/10.33153/grt.v19i2.3455.
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The research titled "Analysis of Merak Subal Dance Movement by S. Maridi at Soeryo Soemirat Gallery in Surakarta", was created by S. Maridi in the 1969s. Merak Subal Dance is a dance that represents the life (behavior) of peacocks. S. Maridi's Merak Subal dance was inspired by sundanese peacock dance.This study aims to describe and analyze the movements in The Merak Subal Dance. The research method used is descriptive analytics with qualitative data properties, namely collecting data through observations, interviews, subsequent library studies analyzed descriptively. The research problems were analyzed using conceptual foundations from Soedarsono on dance forms and Agus Tasman on the analysis of dance moves and characters.The results of Merak Subal Dance research in Soeryo Soemirat gallery showed that the dance was presented in the form of a group dance drawn by three dancers with a duration of about eight minutes. Elements that make up The Merak Subal Dance are motion, floor design(floor pattern), top design, dramatic design, theme, makeup and fashion, dance music, property, lighting, venue and performance time. Then the analysis of motion includes materials, energy, space, time, organization, aggregation, character, description. Keywords: Merak Subal Dance, choreography, Soeryo Soemirat gallery.
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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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Yudiawati, Hana. "Manajemen Pelestarian Angklung sebagai Warisan Budaya Takbenda." Jurnal Tata Kelola Seni 7, no. 1 (May 24, 2021): 31–44. http://dx.doi.org/10.24821/jtks.v7i1.4623.
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Indonesia merupakan negara yang kaya akan budaya dan alamnya. Perkembangan budaya di Indonesia sangatlah beragam, mulai dari rumah adat, upacara adat, tarian, lagu, musik, dan bentuk seni pertunjukan lainnya, yang menampilkan keunikan masing-masing nilai budaya setempat. Seperti yang akan diuraikan di sini adalah salah satu alat musik Indonesia yaitu angklung. Penelitian ini bertujuan untuk mengetahui manajemen pelestarian angklung dan sebagai studi kasus penelitiannya adalah musik angklung yang dikembangkan dan dilestarikan di sanggar seni Saung Udjo Bandung, yang merupakan pusat pelestarian dan pertunjukan kebudayaan tradisional Sunda. Untuk metode yang digunakan adalah metode deskriptif kualitatif yaitu metode penelitian yang memanfaatkan data untuk dijabarkan sesuai data yang dilihat dan terjadi di lapangan. Pengumpulan data dilakukan dengan cara observasi langsung, wawancara, dan studi literatur. Hasil analisis menghasilkan beragam bentuk manajemen pelestarian, yaitu: Di bidang produksi, angklung yang masih tetap dipertahankan pembuatan angklung oleh para perajin secara manual dengan menggunakan tangan; Di bidang lahan, masih memanfaatkan lahan bambu yang secara terus-menerus perlu menjaga tata cara dan teknik penebangannya sehingga tidak dianggap merusak lahan bambu yang ada; Di bidang pertunjukan, diselenggarakan kegiatan dan event pertunjukan angklung di berbagai daerah; Di bidang pendidikan, masuknya angklung pada pembelajaran ekstrakurikuler di sekolah, baik di tingkat Taman Kanak-kanak sampai Perguruan Tinggi. Terwujudnya pelestarian tentu diperlukan kolaborasi yang tepat dari pihak pemerintah maupun masyarakat Indonesia dan peran serta pemerhati seni perlu sejalan dalam menjaga pelestarian angklung. Conservation Management of Angklung as Intangible Cultural Heritage ABSTRACT Indonesia is a country rich in culture and nature. The development of culture in Indonesia is very diverse, ranging from traditional houses, traditional ceremonies, dances, songs, music, and other forms of performing arts, which show the uniqueness of each local cultural value. As will be described here is one of the Indonesian musical instruments, namely the angklung. This study aims to determine the management of angklung preservation. As a case study, the research is angklung music developed and preserved in the Saung Udjo Bandung art studio, a center for the preservation and performance of Sundanese traditional culture. The method used is a qualitative descriptive method, namely a research method that utilizes data to be described according to the data seen and occurs in the field. Data collection is done by direct observation, interviews, and literature studies. The results of the analysis resulted in various forms of conservation management, namely: In the field of angklung production, the craftsmen still made angklung by hand; In the field of land, it is still utilizing bamboo land which continuously needs to maintain the methods and techniques of cutting so that it is not considered as damaging the existing bamboo land; In the field of performances, angklung performance activities and events are held in various regions; In the field of education, the inclusion of angklung in extracurricular learning in schools, both at Kindergarten to College levels. The realization of conservation certainly requires proper collaboration from the government and the Indonesian people. The participation of art observers needs to be in line with maintaining the preservation of angklung.
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Bahruddin, Muh, Ibnu Hamad, and Pinckey Triputra. "The Representation of Social Changes in Indonesian Muslim Society: A Semiotic Analysis of ‘Ketika Mas Gagah Pergi’." Jurnal Komunikasi: Malaysian Journal of Communication 37, no. 2 (June 30, 2021): 68–82. http://dx.doi.org/10.17576/jkmjc-2021-3702-05.
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This research investigates the social changes concerning Islam's revitalisation, which was constructed by the movie Ketika Mas Gagah Pergi (KMGP). The research criticises structuration theory, which does not accommodate religion as part of social changes, especially in making new social changes. The researcher utilised semiotic logic by using the process of meaning or signification, which comprises signs or representation, object, and interpretant. The researcher also conducted in-depth interviews with filmmakers to understand the context from which the texts were produced. As a result, it was discovered that KMGP utilised signs to construct social changes through the act of wearing a veil, Islamic religious music, and the prohibition of shaking someone's hands which is not his/her mahram (legal spouse or guardian based on Islamic law), the separation of men and women in a wedding occasion, and other new rules which were previously not familiar in society. Nevertheless, to legitimise the new rules in these particular social practices, KMGP often used structure resources. For example, Gagah legitimated his action by referring to the tradition of Sundanese (one of the Indonesian tribes) to the prohibition of shaking a non-mahram’s hands. This is supported by hadith (speech, attitude, and behaviour of Prophet Muhammad) about this particular action. This movie also proved that the rules of Islamic religion became an important element that changed social order, especially in Indonesia. Keywords: Movie, Indonesian Muslim Society, social changes, structuration, representation.
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Barnard, Timothy P., Raja Ali Haji, Robert Blust, L. Smits, Peter Boomgaard, Mason C. Hoadley, Freek Colombijn, et al. "Book Reviews." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 152, no. 1 (1996): 152–82. http://dx.doi.org/10.1163/22134379-90003024.
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- Timothy P. Barnard, Raja Ali Haji, Di dalam berkekalan persahabatan: ‘In everlasting friendship’; Letters from Raja Ali Haji, edited by Jan van der Putten and Al Azhar. Semaian 13. Leiden: Department of Languages and Cultures of Southeast Asia and Oceania, 1995, 292 + x pp., maps. - Robert Blust, L. Smits, Irian Jaya source materials, no. 5, series B-no. 2. The J.C. Anceaux collection of wordlists of Irian Jaya Languages. A: Austronesian languages (part II). Leiden/Jakarta, 1992, 288 pp., C.L. Voorhoeve (eds.) - Peter Boomgaard, Mason C. Hoadley, Towards a feudal mode of production; West Java, 1680-1800. Singapore: Institute of Southeast Asian Studies [ in cooperation with the Nordic Institute of Asian Studies, Copenhagen], 1994, x + 241 pp. - Freek Colombijn, Muriel Charras, Spontaneous settlements in Indonesia; Agricultural pioneers in southern Sumatra. Migrations spontanées en Indonésie; La colonisation agricole de sud de Sumatra. Jakarta: Departemen Transmigrasi; Paris: ORSTOM-CNRS, 1993, 405 pp., Marc Pain (eds.) - Dick Douwes, Hussin Mutalib, Islam, Muslims and the modern state; Case-studies of Muslims in thirteen countries. London: MacMillan; New York: St. Martin Press, 1994, 374 pp., Taj ul-Islam Hashimi (eds.) - J. van Goor, H.W. van den Doel, De stille macht; Het Europse binnenlands bestuur op Java en Madoera, 1808-1942. Amsterdam: Bert Bakker, 1994, 578 pp. - Stuart Kirsch, J.W. Schoorl, Culture and change among the Muyu. Translated by G.J. van Exel. Translation Series 23. Leiden: KITLV Press, 1993, xiv + 322 pp. - Bernd Nothofer, Ger P. Resink, Topics in descriptive Papuan linguistics. Leiden: Vakgroep Talen en Culturen van Zuidoost-Azië en Oceanië, Rijksuniversiteit te Leiden, 1994, viii + 154 pp. - Gerard Persoon, Robin Broad, Plundering paradise; The struggle for the environment in the Philippines. Berkeley: University of California Press, 1993, xvi + 197 pp., John Cavanagh (eds.) - Gerard Persoon, Thomas N. Headland, The Tasaday controversy; Assessing the evidence. AAA 28 Special Publication. Washington: American Anthropological Association, 1992, xi + 255 pp. - Remco Raben, Peter Harmen van der Brug, Malaria en malaise; De VOC in Batavia in de achttiende eeuw. Amsterdam: De Bataafsche Leeuw, 1994, 256 pp. - Nico G. Schulte Nordholt, Marcel Bonneff, ‘L’Indonésie contemporaine; vue par ses intellectuels’. Un choix d’articles de la revue PRISMA (1971-1991). Cahier d’Archipel 21. L’Harmattan, 1994, 287 pp. - A. Teeuw, Henri Chambert-Loir, Littérature indonésienne, une introduction. Éditeur Henri Chambert-Loir. Cahier d’Archipel 22. Paris: Association Archipel, 1994, 237 pp. - A. Teeuw, Martina Heinschke, Angkatan 45. Literaturkonzeptionen im gesellschaftspolitischen Kontext; Zur Funktionsbestimmung von Literatur im postkolonialen Indonesien. Veröffentlichungen des Seminars für Indonesische und Südseesprachen der Universität Hamburg, Band 18. Berlin/Hamburg: Dietrich Reimer Verlag, 1993, viii + 365 pp., - Wim van Zanten, Philip Yampolsky, Music of Indonesia, Volumes 1-6. Series of CDs/cassette tapes with documentation. Washington: Smithsonian/Folkways Recordings. Vol. 1: ‘Songs before dawn: Gandrung Banyuwangi’ (1991; SF40055); Vol. 2: ‘Indonesian popular music: Kroncong, Dangdut, and Langgam Jawa’ (1991; SF40056); Vol. 3: ‘Music from the outskirts of Jakarta: Gambang Kromong’ (1991; SF40057); Vol. 4: ‘Music of Nias and North Sumatra: Hoho, Gendang Karo, Gondang Toba’ (1992; SF40420); Vol. 5: ‘Betawi and Sundanese music of the north coast of Java: Topeng Betawi, Tanjidor, Ajeng’ (1994; SF40421); Vol. 6: ‘Night music of West Sumatra: Saluang, Rabab Pariaman, Dendang Pauah’(1994; SF 40422).
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Irawan, Endah, R. M. Soedarsono, and G. R. Lono L. Simatupang. "Karakter Musikal Lagu Gedé Kepesindenan Karawitan Sunda." Resital: Jurnal Seni Pertunjukan 15, no. 1 (November 10, 2014): 18–31. http://dx.doi.org/10.24821/resital.v15i1.797.
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Penelitian ini difokuskan pada tiga hal yaitu: (1) menemukan ciri-ciri musikal lagu gedé; (2)menunjukkan perbedaan relasi musikal antara lagu gedé dengan pertunjukan wayang golék dankiliningan; dan (3) menunjukkan kompleksitas hubungan garap di dalam lagu gedé, yaitu hubunganantara nyanyian sindén dengan nyanyian alok, rebaban, gambangan, dan kendangan. Penelitianini menggunakan pendekatan etnomusikologis didasarkan pada cara kerja ala Wim van Zanten,yaitu memadukan aspek musikologis dan antropologis. Musik ditempatkan sebagai objek utamasekaligus dasar relasinya dengan persoalan-persoalan kebudayaan dan masyarakat. Hasil penelitianini menunjukkan bahwa lagu gedé menunjukkan peran, proses, interaksi dan kompleksitas garapnyakhusus. Pada sisi pencipta lagu, lagu gedé diakui sebagai pengguritan yang sulit dan langka. Padasisi penyaji, membawakan lagu gedé diperlukan persyaratan seperti: modal vokal bagus, menguasaiperbendaharaan lagu dan laras, terampil menafsir garap lagu dan memberi sénggol-sénggol unik. Denganketiadaan lagu gedé, mutu garap kesenimanan sinden dan pangrawit dan jalinan interaksi kemampuanmusikal di antara pemeran garap vokal, rébab, gambang, dan kéndang mengalami keterbatasan.The Musical Characters of Lagu Gedé Kepesindenan on Sundanese Karawitan. The researchis mainly focused on the three things: (1) to find the musical characteristics of lagu gedé; (2) to show thedifference on the musical relationship of lagu gedé song with a puppet show and kiliningan; (3) to show thecomplexity of the working relationship on lagu gedé, such as the relationship between the singing of Sindenand the hymns of alok, rebaban, gambangan, and kendangan. The ethno musicological approach of lagugedé is based on the work method of Wim van Zanten which is a musical approach with an anthropologicalperspective. The two aspects – musicological and anthropological – are respectively combined. Music isintensively placed as the main object in order to discover the basis of its relation with cultural and socialissues. The results of the research on lagu gedé show the role, process, interaction, and complexity of the musicalinterpretation which are characterized by a slow tempo. From the composer’s point of view or the musicalcomposition, lagu gedé is recognized as a difficult and rare form of pengguritan. From the performers’ pointof view (the sinden or female vocalist and the pangrawit or musician), a number of special skills are requiredin performing lagu gedé. These may include a good voice, a good command of the musical repertoire, tuning,and musical composition, and the ability to interpret the music and provide the unique sénggol-sénggol aswell. By the absence of lagu gedé, there will be more limited quality of interpretation and artistry of thesinden and pangrawit, and the musical skills and interaction among the musicians (such as the vocalist,rébab, gambang, and kéndang players).
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Miksic, John N. "Music of Indonesia. Edited by Philip Yampolsky. Volume 5: Betawi and Sundanese Music of the North Coast of Java. Volume 6: Night Music of West Sumatra. Volume 7: Music from the Forests of Riau and Mentawai. Volume 8: Vocal and Instrumental Music from East and Central Flores. Volume 9: Vocal Music from Central and West Flores. Volume 10: Music of Biak, Irian Jaya. Volume 11: Melayu Music of Sumatra and the Riau Islands. Volume 12: Gongs and Vocal Music from Sumatra. Washington, D.C.: Smithsonian/Folkways, 1994–1996. Eight Compact Discs with Liner Notes. Bibliography." Journal of Southeast Asian Studies 28, no. 2 (September 1997): 431–32. http://dx.doi.org/10.1017/s0022463400014685.
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Kulsum, Umi. "POTENSI BAHASA SUNDA DALAM MEMPERKAYA BAHASA INDONESIA." Jurnal Pendidikan Bahasa dan Sastra 15, no. 2 (December 3, 2015): 253. http://dx.doi.org/10.17509/bs_jpbsp.v15i2.1245.
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AbstrakBahasa Indonesia akan senantiasa berkembang sesuai dengan perkembangan penuturnya. Bahasa Indonesia juga banyak menggunakan kosakata dari luar yang dianggap lebih mewakili konsep, gagasan, atau ide tertentu. Bahasa yang menjadi sumber serapan bagi bahasa Indonesia adalah bahasa Melayu, bahasa daerah lain di Indonesia, atau bahasa asing. Sebagai bahasa daerah dengan penutur yang cukup banyak, bahasa Sunda mempunyai kemantapan, baik dalam korpus (tata bahasa, kamus) maupun dalam pemakaiannya. Tulisan ini bertujuan untuk mendeskripsikan (1) kosakata bahasa Sunda yang berpeluang masuk ke dalam bahasa Indonesia, dan (2) karakteristik kosakata tersebut dilihat dari segi makna, kategori, dan bentuk. Metode yang digunakan dalam penelitian ini ialah metode deskriptif. Hasil temuan menunjukkan bahwa kosakata bahasa Sunda banyak yang berpeluang menjadi kosakata bahasa Indonesia, terutama kosakata yang memiliki konsep, gagasan, atau ide yang tidak ada dalam bahasa Indonesia, baik menyangkut istilah kekerabatan, berkaitan dengan fisik manusia, nama tumbuhan dan bagiannya, aktivitas badan dan aktivitas sehari-hari, aktivitas terkait benda, rasa sakit, sifat manusia, alam dan keadaan, nama penyakit maupun konsep lainnya yang tidak ada dalam bahas Indonesia. Hal tersebut dibuktikan dengan banyaknya kosakata Sunda yang masuk ke dalam wacana dan menjadi interferensi leksikal (atau harus dimiringkan) dalam media massa berbahasa Indonesia. Selain itu, kosakata yang berkaitan dengan budaya Sunda, seperti nama kesenian, alat musik, tradisi, dan sastra Sunda berpeluang juga menjadi kosakata bahasa Indonesia atau setidaknya menyumbang Kamus Besar Bahasa Indonesia cetakan selanjutnya. Kata kunci: Bahasa Indonesia, KBBI, kosakata, bahasa Sunda AbstractIndonesian will continue to evolve as its speakers grow. Indonesian uses plenty of vocabulary from the outside which is considered to better represent particular concepts or ideas. The languages that have been the sources for borrowing are Malay, regional languages in Indonesia, or foreign languages. As a local language with a significant number of speakers, Sundanese is established, both in the corpus (grammar, dictionaries) as well as in its use. This paper aims to describe (1) Sundanese vocabulary is likely to enter into Indonesian, and (2) the characteristics of such Sundanese vocabulary is likely to enter into Indonesian in its meaning, category and form. The method used in this research is descriptive. A large number of Sundanese words are likely to be the vocabulary of Indonesian, especially those concerning a concept, or an idea that does not exist in Indonesian, e.g. kin terms, human physical nature, names of plants and parts, the activity of the body and everyday activities, activities related to objects, pain, human nature, the nature and circumstances, and names of diseases. This is evidenced in the number of Sundanese vocabulary in Indonesian passages and lexical interferences in Indonesian mass media. Moreover, the vocabulary related to Sundanese culture, such as names of arts, musical instruments, traditions and literary are likely to also be the Indonesian vocabulary and contribute to the next edition of the Great Dictionary of the Indonesian Language.Keywords: vocabulary, Sundanese, Indonesian, Indonesian dictionary
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Widoyanti, Virki, Hermanto Tri J, and Widjiati Widjiati. "- Musik Mozart Memiliki Ekspresi Brain Deriverd Neurotrophic Factor Tertinggi Pada Serebrum dan Serebellum Rattus norvegicus Dibandingkan Dengan Gamelan Jawa, Sunda Dan Bali Selama Kehamilan." Jurnal Ilmu Kesehatan 8, no. 2 (May 8, 2020): 103. http://dx.doi.org/10.32831/jik.v8i2.243.
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Pendahulan: Musik dapat memengaruhi sistem saraf parasimpatis atau sistem saraf otomatis, baik secara langsung maupun tidak langsung. Paparan musik Mozarts, gamelan Jawa, Sunda, dan Bali memengaruhi faktor neurotropik yang ada di otak. Metode: Penelitian ini adalah eksperimental laboratorium dengan desain random post-test onlydalam desain kelompok kontrol yang digunakan oleh hewan percobaan Rattus norvegicus sebagai model. Hasil: Ada perbedaan ekspresi brain deriverd neurotrophic factor yang signifikan pada anak Rattus norvegicus antara kelompok dengan p = 0,018 (rata-rata 1,60 ± 0,42 untuk kelompok kontrol, 4,00 ± 1,85 untuk kelompok musik mozart, 3,00 ± 0,96 untuk orang Jawa Kelompok gamelan, 2,48 ± 0,68 kelompok Gamelan Sunda, dan 2,16 ± 1,27 pada kelompok Gamelan Bali) juga di otak kecil dengan p = 0,022 (rata-rata 1, 44 ± 0,29 untuk kelompok kontrol, 3,92 ± 1,81 untuk acara Mozart, 3.04 ± 0.94 grup gamelan Jawa, 2.92 ± 0, 41 grup gamelan Sunda, dan 2.57 ± 1.053 grup gamelan Bali). Kesimpulan: Ada perbedaan ekspresi brain deriverd neurotrophic factor pada serebrum dan serebellum Rattus norvegicus antara yang terpapar musik Mozart, gamelan Jawa, Sunda, Bali dan kontrol.
Key words : Mozart, Javanese Gamelan, Sundanese Gamelan, Balinese Gamelan, Brain Deriverd Neurotrophic Factor
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Ruastiti, Ni Made, Ni Wayan Parmi, Ni Nyoman Manik Suryani, and I. Nyoman Sudiana. "Davedan Show Di Amphi Theatre Nusa Dua Bali." Mudra Jurnal Seni Budaya 33, no. 2 (May 11, 2018): 278. http://dx.doi.org/10.31091/mudra.v33i2.365.
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Artikel ini disusun dari hasil penelitian yang bertujuan untuk dapat memahami pertunjukan Davedan Show di Amphi Theatre Nusa Dua Bali. Penelitian ini dilakukan karena adanya ketimpangan antara asumsi dan kenyataan di lapangan. Pada umumnya wisatawan yang datang ke Bali hanya senang dan antusias menonton seni pertunjukan pariwisata berbasis seni budaya lokal saja. Tetapi kenyataan ini berbeda. Walaupun Davedan Show tidak dibangun dari seni budaya lokal saja, tetapi kenyataannya wisatawan sangat senang menonton pertunjukan tersebut. Pertanyaannya: bagaimanakah bentuk pertunjukan Davedan Show tersebut?; mengapa wisatawan senang menonton pertunjukan itu?; apa implikasinya bagi pelaku, masyarakat, dan industri pariwisata di Nusa Dua, Bali?. Penelitian ini menggunakan metode penelitian kualitatif, khususnya implementatif partisipatoris yang mengutamakan kerjasama antara periset dengan para informan terkait. Sumber data penelitian ini adalah pertunjukan Davedan itu sendiri, pihak manajemen, para penari, penonton, hasil-hasil penelitian yang telah ada sebelumnya. Seluruh data yang telah dikumpulkan dengan teknik observasi, wawancara, FGD, dan studi kepustakaan itu dianalisis secara kritis dengan menggunakan teori estetika postmodern, teori praktik, dan teori relasi kuasa pengetahuan. Hasil penelitian menunjukan bahwa: (1) Davedan Show disajikan dalam bentuk oratorium. Hal itu dapat dilihat dari cara penyajian, koreografi, dan iringan pertunjukannya. Davedan Show yang menampilkan tema Treasure of The Archipelago, membuka gerbang petualangan baru itu diiringi musik rekaman etnik Nusantara secara medley, berkelanjutan dengan struktur pertunjukan: seni budaya Bali, Sumatra, Sunda, Solo, Kalimantan, dan seni budaya Papua; (2) Davedan Show banyak diminati wisatawan manca negara karena penciptaan pertunjukan itu dilatari oleh ideologi pasar, ideologi estetika, dan ideologi budaya Nusantara; (3) Hingga kini Davedan Show berkembang secara berkelanjutan di Nusa Dua Bali karena berimplikasi positif pada ekonomi para pihak terkait, pengayaan bagi seni pertunjukan daerah setempat, dan identitas bagi kawasan wisata Nusa Dua, Bali.This article was compiled from the research results that aimed to understand the Davedan Show at Amphi Theater Nusa Dua, Bali. This research was conducted due to the imbalance between the assumption and the reality in real life. Generally, tourists visiting Bali are more excited and enthusiastic to watch the tourism performing arts that are based on local traditional art and culture. However, the reality is different. The questions are: how is the form of the Davedan show?; why do the tourists enjoy watching the show ?; what are the implications for the performer, the society, and the tourism industry in Nusa Dua, Bali?. This research applied qualitative research methods, especially the participative implementation that prioritized cooperation between the researchers and the related informants. The data sources of the research were the Davedan show, management, dancers, audiences, and similar research results produced by previous researchers. All data that had been collected by observation, interview, FGD, and literature study were then analyzed with aesthetic postmodern theory, theory of practice, and theory of power relationship. The results showed that: (1) Davedan Show was presented with the concept of a new presentation in the tourism performing arts in Bali. It could be seen from the material, the form, the way of presentation, and the management of the show. Davedan Show, presenting the theme of Treasure of the Archipelago and opening the new adventure gate, was accompanied by ethnic music recordings of the archipelago in a medley then continued with the performance structures of: Balinese, Sumatran, Sundanese, Solo, Borneo and Papuan art and culture; (2) Davedan Show attracted many foreign tourists because the show was based on the existence of market, aesthetic, and cultural ideologies of the archipelago; (3) Currently, Davedan Show has developed in Nusa Dua, Bali sustainably because of its positive implications to the economics aspect of the stakeholders, the enrichment of Balinese performing arts, and the identity of Nusa Dua tourism area of Bali.
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Rosyadi, Rosyadi. "ANGKLUNG: DARI ANGKLUNG TRADISIONAL KE ANGKLUNG MODERN." Patanjala : Jurnal Penelitian Sejarah dan Budaya 4, no. 1 (March 1, 2012): 25. http://dx.doi.org/10.30959/ptj.v4i1.122.
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AbstrakAngklung adalah alat musik tradisional Indonesia yang berasal dari tanah Sunda, terbuat dari bambu, yang dibunyikan dengan cara digoyangkan. Sebelum menjadi sebuah kesenian yang adiluhung seperti sekarang ini, kesenian Angklung telah mengalami perjalanan sejarah yang amat panjang. Berbagai perubahan telah dilaluinya mulai dari perubahan bentuk, fungsi, sampai pada perubahan nada. Demikian pula berbagai situasi telah dilaluinya, bahkan kesenian ini sempat mengalami keterpurukan pada awal abad ke-20. Angklung sebagai salah satu jenis kesenian yang berangkat dari kesenian tradisional, mengalami nasib yang tidak terlalu tragis dibandingkan dengan beberapa jenis kesenian tradisional lainnya. Kesenian ini hingga kini masih tetap bertahan, bahkan berkembang, dan sudah “mendunia” kendatipun dengan jenis irama dan nada yang berbeda dari nada semula. Kalau semula nada dasar kesenian Angklung adalah tangga nada pentatonis, kini telah berubah menjadi tangga nada diatonis yang memiliki solmisasi. Boleh dibilang, kesenian Angklung merupakan salah satu jenis kesenian tradisional yang mampu menyesuaikan diri dengan perkembangan zaman, sehingga ia mampu bertahan di tengah terjangan arus modernisasi. Bahkan kesenian Angklung ini telah mendapat pengakuan dari UNESCO sebagai The Representative List of the Intangible Cultural Heritage of Humanity. Angklung sebagai warisan budaya dunia milik Indonesia yang dideklarasikan pada 16 Januari 2011. Abstract Angklung is a Sundanese musical instrument made of bamboo. We have to shake it to get the tune. Angklung has been through long period of times in history before it become a masterpiece of one of Sundanese artistry. It has been through many changes, beginning from its form, functions and tune itself. Angklung experienced its downturn at the beginning of 20th century. But it survived. Angklung can suit itself to this changing modern world by adjusting its musical scale from pentatonic to diatonic. UNESCO has granted angklung the Representative List of Intangible Heritage of Humanity on January 16, 2011.
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Mousley, Sheryl, and Shari Frilot. "New Frontier at Sundance Film Festival: 10 Years of Changing Boundaries." Leonardo 49, no. 2 (April 2016): 109–12. http://dx.doi.org/10.1162/leon_a_01198.
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Santosa, Edi, Marcella Putriantari, Hajime Nakano, Yoko Mine, and Nobuo Sugiyama. "Canopy Achitecture, Biomass and Fruit Production of Solanum nigrum L. as Determined by Nitrogen Application." Jurnal Hortikultura Indonesia 8, no. 3 (December 13, 2017): 162. http://dx.doi.org/10.29244/jhi.8.3.162-170.
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<p align="center"><strong>ABSTRACT <br /></strong></p><p>Demand on fruits of <em>Leunca</em> (<em>Solanum nigrum</em> L.) is increasing in Indonesia due to a rapid expansion of ethnic restaurants, especially Sundanese restaurants. Most fruits come from semi-intensive cultivation in intercropping system, leading to low productivity. In order to improve productivity, nitrogen experiment was carried out at field of Leuwikopo Farm of Bogor Agricultural University, Bogor-Indonesia, during rainy season from December 2013 to April 2014. Four levels of nitrogen, i.e., 0, 60, 120, and 180 kg N ha<sup>-1</sup>, were arranged in a randomized complete block design with four replicates. The results revealed that canopy architecture, dry matter and fruit production, and fruit quality were highly affected by nitrogen application. Increasing nitrogen levels increased biomass and fruit production. Plants treated with nitrogen at level of 60 kg ha<sup>-1</sup> produced ideal height for local labor and stable weekly fruit production than other levels. Hence, N fertilizer is essential for achieving high productivity of <em>S. nigrum</em>.</p><p><em>Keywords:</em> canopy shape, fruit load, indigenous vegetable, leunca, ranti kebo</p><p> </p><p align="center"><strong><em>ABSTRAK <br /></em></strong></p><p><em>Permintaan buah Leunca (<span style="text-decoration: underline;">Solanum</span> <span style="text-decoration: underline;">nigrum</span> L.) terus meningkat di Indonesia sejalan dengan perkembangan restoran etnis khususnya restoran Sunda. Sebagian besar buah leunca berasal dari tanaman sampingan secara tumpangsari, sehingga produktivitas rendah. Dalam rangka meningkatkan produktivitas, percobaan pemberian nitrogen dilakukan di Kebun Percobaan Leuwikopo IPB, Bogor pada musim hujan Desember 2013 sampai April 2014. Nitrogen diberikan empat taraf yaitu 0, 60, 120, dan 180 kg N ha<sup>-1</sup></em><em>, yang disusun dalam rancangan acak kelompok dengan empat ulangan. </em><em>Hasil menunjukkan bahwa bentuk kanopi, produksi bahan kering dan produksi buah serta kualitas buah dipengaruhi oleh pemberian nitrogen. Peningkatan dosis nitrogen meningkatkan bahan kering dan produksi buah. Tanaman dengan perlakuan 60 kg N ha<sup>-1</sup> menghasilkan tinggi yang ideal bagi pemanen, dan hasil mingguan yang stabil dibandingkan dengan taraf yang lebih besar. Oleh karena itu, pemupukan nitrogen penting dilakukan untuk meningkatkan produktivitas leunca.</em></p><p><em>Kata kunci: beban buah, bentuk kanopi, leunca, ranti kebo, sayuran tradisional</em><strong><em></em></strong></p>