SELONDING
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
Articles
10 Documents
Search results for
, issue
"Vol 14, No 14 (2018): SEPTEMBER 2018"
:
10 Documents
clear
<![CDATA[MUSIK OGLOR DALAM RITUAL SUNATAN DI DESA WONOKARTO KECAMATAN NGADIROJO KABUPATEN PACITAN ]]>
<![CDATA[Zhenley Octa Sinaga]]>
<![CDATA[ SELONDING Vol 14, No 14 (2018): SEPTEMBER 2018 ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (299.236 KB)
|
DOI: 10.24821/selonding.v14i14.3135
<![CDATA[Oglor is one of the traditional arts that developed in the village community Wonokarto, in this case Oglor music is used as a means of circumcision ritual in the village Wonokarto. Where the owner of the intent more believes with chanting poem played Oglor music will be faster delivered to God. The form of music presentation Oglor in the ceremony sunatan as a means of accompaniment, bringing many songs and Islamic poems taken from the book barzanji. Oglor music has always been used as a medium of prayer in the great days of religion and especially for traditional ceremonies in the village of Wonokarto. The call of poetry containing prayers with the accompaniment of kendang, centrifugal and flying instruments into an inseparable unity. Thus it can be concluded that Oglor as a means of ritual circumcision ceremony in Wonokarto village is one of the tradition of Wonokarto villagers, where the owner chooses to bring Oglor music in every ritual ceremony of sunatan ceremony. Because every verse of the song that is sung has meaning for the good of the child in the future and is celebrated as gratitude to God Almighty.]]>
<![CDATA[Belentung Sebagai Identitas Musik Pada Komunitas Konser Kampung Desa Jatitujuh Majalengka Jawa-Barat ]]>
<![CDATA[Shintia Ananias]]>
<![CDATA[ SELONDING Vol 14, No 14 (2018): SEPTEMBER 2018 ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (286.145 KB)
|
DOI: 10.24821/selonding.v14i14.3131
<![CDATA[Belentung is a string instrument made by bamboo inspired by soundscape which is the voice of big toads and also children toys made by a can and thread of mattress. Belentung can be played individually or ansemble. The words “belentung” also refers to the ansemble or music that produced from belentung itself. Belentung ansamble music have four kinds of instrument based on their size and function, such as belentung panggede, panungtun, panembal and pangrecok. Belentung made by Komunitas Konser Kampung located in the Jatitujuh village, Majalengka, West Java. Komunitas Konser Kampung has been established since June 26th, 1987 and have many art activities, such as in music activities, literature and fine arts. Members of this community are artists, humanists and youth generation of Jatitujuh. This community have so many art activities in Jatitujuh village itself and also in the level of region, Majalengka until out of region. The interaction of Komunitas Konser Kampung with other communities and also with the people made this community realized the importance of group identit, especially music identity. Belentung created as a music identity of Komunitas Konser Kampung because of the uniqness of the organology and the characteristic of their musical. The qualitative method used to get data in the field, for example observation participate, interview with the local people, documentation and literature study. Ethnomusicology and anthropology approach has been done to analyze and made conclucion.]]>
<![CDATA[Pengendang Perempuan Dalam Karawitan Jawa Pengiring Perayaan Ekaristi di Gereja Pugeran Yogyakarta ]]>
<![CDATA[Andaru Kumara Jati]]>
<![CDATA[ SELONDING Vol 14, No 14 (2018): SEPTEMBER 2018 ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (292.894 KB)
|
DOI: 10.24821/selonding.v14i14.3137
<![CDATA[Eucharist is a sacred and the primary ritual for Catholics, it has adapted to the local culture. This adaption process called inculturation. Some examples of inculturation that is language and music. In Sacred Heart of Jesus Catholic Church Pugeran Yogyakarta, inculturation appears with the eucharist with Javanese language and Javanese songs with Javanese musical accompaniment called gamelan. Gamelan is a set of musical instruments that have undergone many developments. Gamelan played generally by men, because the gamelan construction is designed to be played by sitting of male style. But today there’s more and more groups of gamelan involving women as a player. In Pugeran Church found the phenomenon of female kendang (drums) player. This woman has a position as a leader, and it is in contrast to Javenese culture which has patriarchal principle, so that in this research examined the cause of the female kendang player in Catholic church and her performances.The method used in this research is descriptive method of analysis that describes the object in writing and detail. The research is qualitative research with ethnomusicological approach that explores the object not only the form of music (textual) but also all related cultural aspects (contextual). In addition, this research also uses a sociological and theological approach that helps to explore from a socio-cultural point of view and the science of Catholicism. Search data consists by literature study, observation, interviews and documentation. All data is done from October 2017 until June 2018. This research using gender theory in The Social Psychology of Music by David J. Hargreaves and Adrian C. North to analyze the data and answer the problems.]]>
<![CDATA[Musik Dewa-Dewa Dalam Upacara Erau Pelas Benua di Guntung Kota Bontang Kalimantan Timur ]]>
<![CDATA[Yusuf Rizky]]>
<![CDATA[ SELONDING Vol 14, No 14 (2018): SEPTEMBER 2018 ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (388.165 KB)
|
DOI: 10.24821/selonding.v14i14.3132
<![CDATA[Erau Pelas Benua Guntung is the ritual ceremony that held by Kutai Guntung society Bontang, East Borneo. Erau will be held for seven days. In this ceremony, the erau ritual can’t be held if they are not doing the Pelas Benua. Pelas Benua is a ritual that sorrounds the four direction of the wind in Guntung as the form to clean up from the negative things. This ritual using Dewa-Dewa music as accompanist, the belian communicate to Dewa Semega, He is The God who control the universe. This research using qualitative method with ethnomusicology perspective. Music Dewa-Dewa is ritual music which is specially used in Pelas Benua procession. Music Dewa-Dewa is an ansamble which consist Klentangan, Gong, Gendang and Gimar instrument. There are three function of Dewa-Dewa music in this ceremony, as communication, ritual function, and physical response. The form of presentation music Dewa-Dewa always can not be separated with form the context of Pelas Benua ceremony and presenting as the ansamble.]]>
<![CDATA[Keberadaan Grup Karawitan Cikal Laras di Kabupaten Karanganyar Jawa Tengah ]]>
<![CDATA[Anantama Mutaqim]]>
<![CDATA[ SELONDING Vol 14, No 14 (2018): SEPTEMBER 2018 ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (326.888 KB)
|
DOI: 10.24821/selonding.v14i14.3138
<![CDATA[Group Cikal Laras domiciled in the Karangpandan district of Karanganyar district is a group of music that is active in developing a kind of music especially musical. Pangrawit is composed of the children SMP, SMA, SMU/K and Students. Activity undertaken by the group is to fill the stage held by the community and agencies. Wrong one of the music that is processed by the group Cikal Laras Gendhing Cakra that combines several forms of musical gendhing such as lancaran, ladrang, sampak, monggang and gangsaran. Presentation is performed in an instrumental manner that is played by young people so it looks harmonious. Cikal Laras group by using qualitative methods. This is done to see a phenomenon that exists about a group of music with players who are mostly young people in processing a cultivation. Meaning implied in this study is more directed to the existence of the group so it is still in demand by people in Karanganyar regency of Central Java. Existence of Cikal Laras group is still needed by the community in Karanganyar regency in enjoying or appreciating a form of musical dish especially karawitan. Creativity generated by this group makes the continuity of the show is increasing so that it can support the continuity of the group.]]>
<![CDATA[Kelentangan Dalam Ritual Merangin Pada Upacara Erau di Tenggarong Kutai Kartanegara Kalimantan Timur ]]>
<![CDATA[Riana Kapri]]>
<![CDATA[ SELONDING Vol 14, No 14 (2018): SEPTEMBER 2018 ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (372.3 KB)
|
DOI: 10.24821/selonding.v14i14.3133
<![CDATA[Merangin is one of the ritual stages in erau ceremony. Erau is a ceremony that held once a year to celebrate anniversary Tenggarong city. In this ceremony, there some rituals that should be held, one of them is merangin, that include in pra erau stage which have purpose to open the communicate with the unseen world. Ritual merangin is held in Serapo belian and done by belian (people who can talks the spell) for three nights. Merangin in implemetation presenting kelentangan ansamble that will be played from the beginning till the end ritual. The main purpose from ritual merangin is to telling the unseen things to attend the erau ceremony and to guard Kutai Kartanegara during the ceremony. This research using descriptive method of analysis with anthropological and ethnomusicology approach. Then, the next step is collecting the data with literature review, observation, interview and documentation to ritual merangin that held on 19th till 22nd of July 2017. This research also using theory of music function by Alan P. Merriam, cultural theory by Clifford Geertz and form of music science by Karl Edmund Prier SJ to analize the data and the answering the formulation problem. The result of this research is ritual merangin that presenting kelentangan ansamble having linkages that cant be separated because the ansamble is the part of the ritual. Kelentangan in ritual merangin have some function, that is ritual function, communication media function, and physical response function. The song that played by kelentangan ansamble having pattern which is the simple one and sounded repeated to create magical atmosphere so the message in the communication can be delivered to the unseen things.]]>
<![CDATA[Besoyong Dalam Pesta Adat Belian Paser Nondoi di Kabupaten Penajam Paser Utara Kalimantan Timur ]]>
<![CDATA[Retno Kristanti]]>
<![CDATA[ SELONDING Vol 14, No 14 (2018): SEPTEMBER 2018 ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (318.64 KB)
|
DOI: 10.24821/selonding.v14i14.3139
<![CDATA[Besoyong is derived from the word soyong which means the spell or prayers, then besoyong means speaking or singing the spell. Besoyong is usually used by Paser tribe as the media to speak to the ancients spirits and Sangiyang through their daily lives. Besoyong has started to be sung in Traditional Festival of Belian Paser Nondoi once a year at Penajam Paser Utara regency, East Kalimantan. This research explains about presentations form of besoyong continue with internal and external incentive factors of besoyong presence in Traditional Festival of Belian Paser Nondoi. This research uses the theory of Alvin Boskoff about internal and external’s factors of social change applied as internal and external incentive factors of besoyong presence in Traditional Festival Belian Paser Nondoi. Besoyong can be presented individually and also with ensemble. Internal incentive factors of besoyong presence are to elude from evil ghosts, as the mean to invoke clear weather for the festival, as the mean of healing and ast the mean of asking blessing. External incentive factors of besoyong presence are to elevate the district economics & tourism, and to be functioned as the identity of this region.]]>
<![CDATA[Musik Tiban Dalam Ritual Mendatangkan Hujan di Desa Kerjo Kecamatan Karangan Kabupaten Trenggalek ]]>
<![CDATA[Achmad Lutfi]]>
<![CDATA[ SELONDING Vol 14, No 14 (2018): SEPTEMBER 2018 ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (394.109 KB)
|
DOI: 10.24821/selonding.v14i14.3136
<![CDATA[Tiban is a tradition of the people of the village of Kerjo, Karangan, Trenggalek, East Java, which is held every year, especially when a long dry season strikes the area. Tradian Tiban aims to bring rain with the media, namely having to bleed as redeeming human error. The process of making blood come out of the body is done by the offender by whipping each other using whip. The result of the lash will scratch the body so that it becomes a wound so that it bleeds. The village of Kerjo village is a farming community that uses the Tiban facility to bring rain during a long dry season.The method used in this study is a qualitative method which is done by collecting data based on observations, literature, documentation, and interviews. The results of this study can trace a phenomenon that exists in the Tiban ritual that relates to the beliefs of the people. The syncretism that occurred in the Kerjo village community did not make a barrier in the implementation of the art.]]>
<![CDATA[Nyanggem ]]>
<![CDATA[Fitria Kurniasari]]>
<![CDATA[ SELONDING Vol 14, No 14 (2018): SEPTEMBER 2018 ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (465.982 KB)
|
DOI: 10.24821/selonding.v14i14.3134
<![CDATA[Composition called nyanggem or in terms of another nyarios in language Sunda which means talk is a form of music resulting from logat, using a way that is at jangka and wirahma, then logat the conversation someone will be able as melody.Composition is expected to to be an early stage to make logat as one of objects could become work better. But based on logat in west java, composition it also took the story the author personal about mom have a struggle to become the backbone of family.]]>
<![CDATA[Makna Lirik Nyanyian Andung Dalam Upacara Kematian Sarimatua Pada Masyarakat Batak Toba di Samosir ]]>
<![CDATA[Daniel Yosmar Heyman Manalu]]>
<![CDATA[ SELONDING Vol 14, No 14 (2018): SEPTEMBER 2018 ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (291.694 KB)
|
DOI: 10.24821/selonding.v14i14.3130
<![CDATA[This study discusses the function and meaning of lyric singing in the ceremony of sarimatua death in Batak Toba society in Samosir. In general, there are problems identified in this study. The main problem is hata andung is rarely used by the Toba Batak community. Batak Toba community more often use the Batak Toba language because not many people Toba Batak who understand about the meaning of andung the truth. For that language andung should be used with hata andung no longer used, so it does not have the value of the tradition attached to the Batak Toba community in Samosir. study conducted during the period of four months, from the beginning of February 2017 to May 2017.To discuss the problem then used the theory of Abdul Chaer in assessing the function and meaning, cultural values contained in andung sarimatua Ompu Juan Boru. The results of this study resulted in some conclusions such as singing andung lacks existence in the Batak community because, the speakers at the ceremony andung Toba batak community dead at the present time is very difficult to find. This andung tradition is considered no longer suitable for today. Some of the factors that result in shifts and changes in the current andung sarimatua traditions are religion, language, and the use of musical instruments.The function of the andung tradition at present in the Toba Batak community death ceremony include: the function of expression of sadness and the closeness of relationships and respect for the deceased family. The meaning contained in andung sarimatua reveals all the feelings and tells the contents of his heart to his deceased mother, tells many things, the longing of sipangandung to uncle and grandfather who have long died also participated expressed and send greetings to them, and expect her mother still can protect his descendants. Cultural values contained in the tradition andung in the ceremony of death sarimatua Batak Toba community today is the value of hasangapon, hagabeon, and hamoraon.]]>
