Garuda - Garba Rujukan Digital

Article Per Year (5 Year)

All

SELONDING

selonding
Website

Published by Institut Seni Indonesia Yogyakarta

ISSN : 14121514 EISSN : 26859327 DOI : https://doi.org/10.24821/sl.v20i1

Core Subject : Humanities, Art, Social,

Arts Humanities Social Sciences

Focus & Scope Science: Organology-acoustics, Semiotics, Hermeneutic, Etnomusicology, Transcript, Composition of Ethnic music, Music Exploration, Anthropologi Music, Sosiology Music, Physics, Culture Assesment and Practice: Assesment of Ethnic music, Practice base Research, Practice led Research Ideas, Concept, Thoughts about music ethnic

Arjuna Subject : Seni dan Humaniora - Musik

Articles 9 Documents

Search results for , issue "Vol 12, No 12 (2017): SEPTEMBER 2017" : 9 Documents clear

Muallaf Muhammad Adnan Irfiyanto
SELONDING Vol 12, No 12 (2017): SEPTEMBER 2017
Publisher : Institut Seni Indonesia Yogyakarta

Muallaf composition is a representation of a process of transfer of beliefs from a Muchlis biography. Muallaf means the person who has established himself to embrace the teachings of Islam, it is experienced by Muchlis who previously had the confidence of Confucius, until influenced by the habits of Muslims until in the end he pledged to Islamic teachings. The presentation of Muallaf composition is a mixture of ethnic, western and vocal instruments. It also adopted some patterns or motifs of the beats from several traditions such as Banyuwangi, Karawitan Java, and Betawi which later developed with techniques to work on music. The existing form of presentation based on phenomena that have been studied based on history or travel Muchlis, in general there are two parts in this work is the atmosphere when there is in Confucian Confidence, until the transition to embrace Islam. The music presented in this composition tends to see and take on an atmosphere that follows the plot of the Muchlis journey, in the Confucian section of the atmosphere that will present Chinese music, and then split again into sections to form variations, dynamics and musical expressions which is different, will then enter the Islamic section as the door of Muchlis embraced Islam, the music presented will be more inclined to the musical music of Islamic nuances with media such as bedug, gambus, tambourine and flute that plays melodis with Minor Zigana scales.Keywords: Muallaf, Transitional, Kong Hu Cu, Islam.

Keberadaan Seni Gejog Lesung Mukti Lestari di Desa Pendowoharjo Bantul Yogyakarta Supriyadi Supriyadi
SELONDING Vol 12, No 12 (2017): SEPTEMBER 2017
Publisher : Institut Seni Indonesia Yogyakarta

Art evolves with the dynamics of society. The reflection of the geographical region through the form of an art is a picture that a form of art can not be separated from the elements of life and nature that surrounds the community. In agrarian society in Krandohan Pendowoharjo Sewon Bantul village, the community is close to an art form that is characterized by agrarian art of Gejog Lesung. Art is well developed in the area because the people still put Gejog Lesung as a form of entertainment performances. Along with the development of a dynamic era, then Gejog Lesung decadence in continuity. On the one hand the generation of mothers who are getting older as main supporters of Gejog Lesung art feel not as energetic as before in his appearance. On the other hand the younger generation are reluctant to learn and engage in art activities Gejog Lesung. Such problems often occur in the existence of a traditional performing arts. Feminism in the show Gejog Lesung with the role of mothers, making the art has its own specifications, given the busyness owned by most of the mothers either as housewives or other workers still take the time to engage in such activities. The degrading view of the potential possessed by a woman can be avoided by seeing the activities of these mothers. Etnomusikologis a form of art can be seen a manifestation in the system contained in a society. Through the art Gejog Lesung can be seen from the pattern of a form of society in appreciating the arts.

Suling Dewa dalam upacara Ngaponin Suku Sasak Muhammad Arsyad
SELONDING Vol 12, No 12 (2017): SEPTEMBER 2017
Publisher : Institut Seni Indonesia Yogyakarta

Suling Dewa is a very distinctive art and became the identity of Sasak Lombok Ethnic. This art stores a variety of uniqueness and that is you can’t found in other areas, one of which is the interval of the tone and the lyrics are so contrasting. This art consists only of two players a vocalist and one flute players. In each of the elements in theSuling Dewa Sasak have the meaning of soul from the mirroring of Sasaknese ethnic identity. This distinctive art in its existence in society is widely used in various sacred rituals and ceremonies. One of Suling Dewa functions is used in Ngaponin ceremony or clean up the old metal ceremony every four years. In Ngaponin ceremony series there is one mandatory procession called as Mendewa. The fungtions of Mendewa procession is called the metaphysical object for making the energy wall of guard. Islam Metu Telu is a belief system in Lombok society. This belief system the majority people life in north of Lombok island and the minority you can find that in all areas of Lombok Island. A beautiful combination pattern is contained in the teachings of Islam Metu Telu or also known as Wetu Telu and WaktuTelu. The combination in question is a pattern of syncretism between religions and cultures that are so harmony that so maintained by society. The presentation of Suling Dewa in Ngaponin ceremony consists of two aspects, the textual and contextual. The textual aspect consists of musical events such as gending, music instrument, lyrics of vocal mantra, instrumental organology and contextual aspects including non-musical events consisting of time, place and other ceremonial processions. Suling Dewa to this day is a primary item in a ceremony or a specific ritual that uses Suling Dewa. Any ceremonies and rituals that use Suling Dewa can’t be done without the presence of the Suling Dewa artist. This proves give the concluses the Suling Dewa have a important position in the life of Sasak Kuto - kute community. Keywords: Suling Dewa, Ngaponin, Islam Metu Telu

Penggunaan Instrumen Cello Dalam Langgam Jawa Sudarno Sudarno
SELONDING Vol 12, No 12 (2017): SEPTEMBER 2017
Publisher : Institut Seni Indonesia Yogyakarta

Keroncong music is the result of a mixture of Portuguese culture and Indonesian culture around the year 1498. Java Javanese style which is one part of keroncong music develops well in Java as a form of community creativity. In 1934 was used pitchicato cello instrument that is picked the technique of strumming with fingers, by Tjok Shinsu. The cello instrument in its native country is a string instrument, by the Indonesians being transformed into a string instrument now known as "cello keroncong". Thanks to the creativity of the artists keroncong, then came the form of Langgam Jawa Keroncong, because according to Gesang that Langgam Jawa was born in 1950. While the Javanese Gamelan affects the original Keroncong, Macapat leads to the verses in Keroncong Langgam introduced by Gesang. The style of singing keroncong with Java elements is usually not displayed in the notation. The phenomenon is very interesting to explore further about the use of cello instruments in Langgam Keroncong. Research conducted with the object uses qualitative methods that rely on direct observation in the field in the pattern of cello instrument play. During the play Langgam Jawa the cello instrument plays a pattern of kendangan. The instrument gives an accentuation that gives the color of its own voice in a dish. The characteristic that stands out in Keroncong Javanese Langgam is located in the cello instrument game because in the form of the game imitate ciblon kendang. According to its function cello in Langgam Jawa Keroncong play a role as ritmis. The role of the cello instrument is the same as the kendang instrument that acts as a rhythm holder having the authority to carry the direction of the song to be performed, such as using ankle rhythm or double, or in karawitan called weled and rangkep.

“Reflection” Penciptaan Komposisi Dengan Menerapkan Rumus Matematis Refleksi Adi Wijaya
SELONDING Vol 12, No 12 (2017): SEPTEMBER 2017
Publisher : Institut Seni Indonesia Yogyakarta

The process of making works of art is a creative process that can be achieved in various ways, contemporary musical development today inevitably requires academics and practitioners to understand theories that support the process of making artwork, not only in terms of aesthetics and relationships to the environment but the in-depth responsibilities reviewed technical to the work itself. Technical mastery in the cultivation of good works can help and facilitate both the process and logical delivery to the general public and certainly can be understood so that messages brought the work to the public. Music is an objective phenomenon, one form of objectivity in the work of music is a correlation with mathematics that has the potential to be the source of creation. Keywords: Creation of composition, mathematical reflection

Ansambel Musik Nggo Lamba Dalam Upacara Pati Ka Du’a Bapu Ata Mata Di Danau Kelimutu Ende Flores Nusa Tenggara Timur Ariesty Victoria Kartina
SELONDING Vol 12, No 12 (2017): SEPTEMBER 2017
Publisher : Institut Seni Indonesia Yogyakarta

Performance of art in a community is a part from community culture it self. Community as the owner of culture has a role to preserve it. Performance of art has different shape from each other. Performance of art it self has a special meaning and this is corresponding with it’s context. Nggo Lamba music performancein Lio Ende Flores East Nusa Tenggara is a folk performing arts that’s used to accompany custom dance at many kinds of custom ceremony like thanksgiving ceremony, wedding ceremony, Pati Ka ceremonyand etc. This writing is a discription of the series process of a Pati Ka ceremonies at Kelimutu lake from preparing until peak of the event ceremonies.Keywords: Nggo Lamba, Pati Ka Du’a Bapu Ata Mata.

Waramopoy dan Kelentangan Dalam Upacara Kwangkay Pada Suku Dayak Benuaq di Kalimantan Timur Asti Hamdani
SELONDING Vol 12, No 12 (2017): SEPTEMBER 2017
Publisher : Institut Seni Indonesia Yogyakarta

Kwangkay is one of the most recent death ceremonies of all the processes of death ritual that found in the Dayak Benuaq, East Kalimantan. This ceremony is doing by digging back the ancestral bones of the deceased and has been buried for 4 years or more. The bones are led by pengewara (traditional leader). Wara Mopoy is a vocal art form of a mantra recited by the rulers during the routine ritual of giving food to the spirits of the ancestors in every day and it is believed to be the medium to deliver the soul to the highest cosmos (Lamut Paradise). During the ritual process, there is also a musical opposition that serves as a dance accompaniment Ngerangkaw( the dance that carried bones in the back).Death becomes something that passes by certain rules and ritual levels because they believe that the nature of the paradise has different levels according to the level of ceremony performed by the living (family and relatives). This kwangkay ceremony is closely related to the origins and mythology of the Dayak tribe of Benuaq that has shaped and bound them in a Benuaq customary and customary order. Implementation was through a variety of requirements, stages, and complicated process to take 21 days. Keywords: kwangkay, wara mopoy, kelentangan.

KREATIVITAS MUSIK GAMBANG SEMARANG STUDI KASUS KOMUNITAS GAMBANG SEMARANG ART COMPANY Ricky Alfiantoro
SELONDING Vol 12, No 12 (2017): SEPTEMBER 2017
Publisher : Institut Seni Indonesia Yogyakarta

Gambang Semarang is one of the original art Gambang Semarang are adopting Kromong Betawi arts. Gambang Semarang was born in 1930 on the initiative of Lie Soen Hoo who is a member Volkstraad (House of Representatives during the reign of the Netherlands). At present Gambang Semarang has created a form that has a factor in creativity. Creativity is an aspect of human qualities which currently play an important role in supporting the development of the nation Indonesian who are experiencing problems are complex, because creativity will have the ability, the creative adaptation and expertise imaginative, so that people will be able to find a resolution problems in a new way in follow the changes that occur that will continue to move towards progress for not float and sink in competition between nations and countries, especially in this era of globalization. Gambang Semarang Art Company is a community of young people who are active in preserving the arts Gambang Semarang with attractive feature, which will follow the tastes of the market in contemporary times, a rendition of the popular and also add some western instruments in the ensemble. Their communities Gambang Semarang Art Company is very important to introduce art Gambang Semarang are increasingly recognized by the people of Semarang. Research Gambang Semarang Art Company uses the description of the analysis method with the approach of ethnomusicology. The results obtained in these studies is a form of imitation of Gambang Semarang are packed in Gambang Semarang Art Company can produce and the continued existence of Gambang Semarang as regional identity. Keywords: Gambang Semarang, Creativity, Community Gambang Semarang Art Company.

Jatung Utang Sebagai Pengiring Tari Hudog Pada Masyarakat Suku Dayak Kenyah di Desa Sungai Payang Kecamatan Loa Kulu Kabupaten Kutai Kartanegara Kalimantan Timur Indah Pribadi Wulandari
SELONDING Vol 12, No 12 (2017): SEPTEMBER 2017
Publisher : Institut Seni Indonesia Yogyakarta

Jatung Debang is a traditional musical instrument of Dayak Kenyah tribe in Kalimantan archipelago. Made of elliptical wood and included in the category of Xylophone instrument. How to play Jatung debt is quite simple: hit with 2 separate logs for each slab of wood, each slab of wood tied to a rope that is mounted on a wooden block that is structured and will issue a key different tone. Jatung Debt itself is usually used as a ritual and dance accompanist Dayak Kenyah tribe.This study aims to determine the structure of the music jatung Debt as accompaniment Hudoq Community Dayak Kenyah tribe in the village of River Payang District of Loa Kulu Kutai regency and to determine the function of music jatung Debt accompaniment Hudoq Community Dayak Kenyah tribe in the village of River Payang District of Loa Kulu Regency of Kutai Kartanegara, using qualitative method. Music jatung debt as a dance accompanist hudog in lamin lung anai payang river village used to an expression of gratitude to the creator which is held after every harvest and to start growing rice again. Keywords: Jatung Utang music, Hudoq, in Sungai Payang Village

Page 1 of 1 | Total Record : 9

Filter by Year

2017 2017

Filter By Issues

All Issue Vol 20, No 2 (2024): : SEPTEMBER 2024 Vol 20, No 1 (2024): : Maret 2024 Vol 19, No 2 (2023): September 2023 Vol 19, No 1 (2023): : Maret 2023 Vol 18, No 2 (2022): : September 2022 Vol 18, No 1 (2022): : Maret 2022 Vol 17, No 2 (2021): : SEPTEMBER 2021 Vol 17, No 1 (2021): : MARET 2021 Vol 16, No 2 (2020): SEPTEMBER 2020 Vol 16, No 1 (2020): Maret 2020 Vol 15, No 2 (2019): September 2019 Vol 15, No 1 (2019): Maret 2019 Vol 14, No 14 (2018): SEPTEMBER 2018 Vol 13, No 13 (2018): Maret 2018 Vol 12, No 12 (2017): SEPTEMBER 2017 Vol 11, No 11 (2017): MARET 2017 Vol. 1 No.1 Maret 2013 Vol.2, No.2, September 2012 Vol.1, No.1, Maret 2012 Vol.3, No.1, 2006 More Issue

Home Page

OAI Link

Editorial Team

Contact

Reviewer

Google Scholar

Contact Name
Ary Wijayanto

Contact Email
412y.wija@gmail.com

Phone
+6281326177669

Journal Mail Official
selonding@isi.ac.id

Editorial Address
Gedung Lt.2 Jurusan Etnomusikologi Fakultas Seni Pertunjukan ISI Yogyakarta Jl. Parangtritis km. 6,5 Sewon, Bantul Yogyakarta-55141

Location
Kab. bantul,

Daerah istimewa yogyakarta

INDONESIA

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Home Page

OAI Link

Editorial Team

Contact

Reviewer

Google Scholar

Contact Name Ary Wijayanto

Contact Email 412y.wija@gmail.com

Phone +6281326177669

Journal Mail Official selonding@isi.ac.id

Editorial Address Gedung Lt.2 Jurusan Etnomusikologi Fakultas Seni Pertunjukan ISI Yogyakarta Jl. Parangtritis km. 6,5 Sewon, Bantul Yogyakarta-55141

Location Kab. bantul, Daerah istimewa yogyakarta INDONESIA

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Contact Name
Ary Wijayanto

Contact Email
412y.wija@gmail.com

Phone
+6281326177669

Journal Mail Official
selonding@isi.ac.id

Editorial Address
Gedung Lt.2 Jurusan Etnomusikologi Fakultas Seni Pertunjukan ISI Yogyakarta Jl. Parangtritis km. 6,5 Sewon, Bantul Yogyakarta-55141

Location
Kab. bantul,

Daerah istimewa yogyakarta

INDONESIA