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All Journal Dinamika Akuntansi Keuangan dan Perbankan Jurnal Ilmu Lingkungan Chemica: Jurnal Ilmiah Kimia dan Pendidikan Kimia Students´ Journal of Accounting and Banking JIKSI (Jurnal Ilmu Komputer dan Sistem Informasi) Jurnal Ilmiah Universitas Batanghari Jambi Wahana Islamika: Jurnal Studi Keislaman Persepsi : Communication Journal Jurnal PIPSI: Jurnal Pendidikan Ilmu Pengetahuan Sosial Indonesia Jurnal Bisnis dan Pembangunan PARAMUROBI Greget JURNAL PRODUKTIVITAS Seminar Nasional Lahan Suboptimal Jurnal Pustaka Ilmiah SOLUSI Dinamika Kerajinan dan Batik : MAJALAH ILMIAH Prosiding Seminar Nasional Pendidikan Fisika FITK UNSIQ Plusminus: Jurnal Pendidikan Matematika SRIWIJAYA JOURNAL OF ENVIRONMENT Cendekia: Jurnal Ilmu Sosial, Bahasa dan Pendidikan Journal of Social Empowerment Khatulistiwa: Jurnal Pendidikan dan Sosial Humaniora JURNAL MUARA PENDIDIKAN Journal of Creative Student Research JOURNAL OF WETLANDS ENVIRONMENTAL MANAGEMENT Jurnal Insan Pendidikan dan Sosial Humaniora Analit: Analytical and Environmental Chemistry Jurnal Kajian Penelitian Pendidikan dan Kebudayaan Jurnal Sains Student Research Ihsanika : Jurnal Pendidikan Agama Islam Jurnal Manajemen dan Pendidikan Agama Islam Jurnal Intelek Dan Cendikiawan Nusantara Jurnal Teknologi Mineral dan Batubara Evrimata: Journal of Mechanical Engineering Jurnal Penelitian Pendidikan Jurnal Pendidikan dan Sosial Humaniora
Maryono Maryono
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Journal : Greget

 1 
Fungsi Tembang dalam Seni Pertunjukan Tari Maryono Maryono
Greget Vol 9, No 2 (2010)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2409.834 KB) | DOI: 10.33153/grt.v9i2.427

Abstract

The existence of song in a dance performance does not function simply a musical instrument but rather more comprehensively is a medium which has a great potential for expressing the content or meaning of the dance, which in turn contains a message that is intended to be communicated. It would appear that the existence of song in a dance performance is also an aesthetical medium of expression. The position of song in the performing arts has a number of highly strategic functions, namely: 1) as a medium of expression for the dancers, 2) as a musical element, and 3) as a pointer to content or meaning. The understanding of these three functions of song is based more on the strength, contribution, and support of the potential which is able to bring a dance performance to life. It should be realized that song in a dance performance is a highly significant expression of competence, and for this reason, the way in which it is treated and presented needs to be examined in greater depth in order to discover its true meaning.Keywords : song, function, and dance
ANALISIS BAHASA PRAGMATIK ADEGAN MENAKJINGGA GANDRUNG DALAM LANGENDRIYAN RANGGALAWE GUGUR Maryono Maryono
Greget Vol 12, No 2 (2013)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (438.883 KB) | DOI: 10.33153/grt.v12i2.499

Abstract

This paper aims to discover the meaning of the Menakjingga Gandrung scene inLangendriyan Ranggalawe Gugur through a study of the pragmatic language used. The researchuses a descriptive qualitative methodology. The theoretical basis used for analyzing the object ofthe study is a combination of pragmatic theories and performing arts theories. The target of thepragmatic theories is the types of linguistic texts while the performing arts theories are directedtowards physical elements of a non-linguistic nature.Based on a study of the verbal and non-verbal components in the Menakjingga Gandrungscene in Langendriyan Ranggalawe Gugur, it is evident that its theme is that of gandrungan orunrequited love. The story portrays the love of Adipati Menakjingga for Queen AyuKencanawungu. His love remains unrequited despite his power and supernatural abilities. Thereality of this situation is also contained in the words of the song Asmarandana which states“gegarané wong akrami dudu bandha dudu rupa among ati pawitané” (the main asset for aperson to love is not wealth, nor is it good looks, but rather comes from the heart). Therefore, a loveaffair is truly determined by the compatibility and harmony between two people’s hearts whenthey are sincere in sharing their love for one another. 
Eksistensi Pencak Silat dalam Penciptaan Tari Tradisi Gaya Surakarta Maryono Maryono
Greget Vol 9, No 1 (2010)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (3362.744 KB) | DOI: 10.33153/grt.v9i1.391

Abstract

The wide range of pencak silat movements used in traditional Surakarta style dance represents their importance in the formation and enrichment of the variety of dance movements in this dance style, especially in the Keprajuritan or Military dance genre. The basic pencak silat movements used for defence, dodging, and stabbing, as well as patterns of combat, have been absorbed and developed in the field of traditional dance to become movements with an expressive quality.Keywords:  Pencak silat, basic, enrichment, traditional dance, and military dance.
Koneksitas Linier Musik Terhadap Pertunjukan Tari Tradisi Maryono Maryono
Greget Vol 11, No 2 (2012)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2732.141 KB) | DOI: 10.33153/grt.v11i2.469

Abstract

The linear interconnection of traditional music toward tradition dance performance has important role as accompanied music with vital contribution. Traditional music called karawitan in a dance performance not only has function as accompanied music but also being: (1) guidance for content or meaning; (2) integrated (nyawiji); (3) rested (nglambari); and (4) wrapped (mungkus) in a whole dance and therefore represented a quality art performance. The interconnection of traditional music toward tradition dance performance was a fusion feel that integrated in expression quality. Keywords : interconnection, traditional music called karawitan, and tradition dance performance. 
Co-Authors 10.05.52.0078 Yuliza Atma Ferita Abdul Azis Abdillah Agus Budi Santosa Akhlis Rizza, Muhammad Amana Irfa’ Fadlana Anjar Kurnia Adiningsih Annisa Kurnia Shalihat Az Zahra Nabila Rofi’ah Bambang Moyoretno Batara Daniel Bagana Devi Yasmin Dewi Rizqa Tamia Dhara Yulita VMS Dharis Salamah Diana Eka Pratiwi El Syam, Robingun Suyud Fachry Abda El Rahman Fahrianoor Fahrianoor Fajar Adie Nugraha Fathah Nurjanah Fitriyani Fitriyani Frisca Anasyaputri Hasri Hasri Heni Pujiastuti Hermawan Dwi Irwanto Ida Fitri Nahdiyati Imelda Eva Roturena Hutabarat Indra Silanegara Intan Cristiana Kholifatun Khasanah Lazuardi Lazuardi Mar’atun Nurul Solikhah Mega Andani Putri Milka Noviyatus Solikhah Mita Sawitri Moh. Sakir Muhamad Syaiful Amin Muhammad Agus Muljanto Muhtar Sofwan Hidayat Mukodi Mukodi Naurah Nazhifah Trisnaeni Nofia Eka Setiyani Nur Aifah Tun Nisa Priatna Priatna Rahmatika Budi Astuti Rudiyansah Rudiyansah Ruslimar'i Ruslimar'i Sabtanto Joko Suprapto Saladin Ghalib Salis Irvan Fuadi Samsuddin Samsuddin Silvina Noviyanti Silviya Yenni Marsela Sri Jumini Sugeng Hadi Susilo Tri Windari Trianita Sari Vionna Vionna Yeni Utami Yogie Ardiwinata Zyad Rusdi