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
142 Documents
<![CDATA[GONDANG SITOLUPULU TOLU DALAM UPACARA PESTA TUGU RAJA SILAHISABUNGAN ]]>
<![CDATA[Anggiat Purba]]>
<![CDATA[ SELONDING Vol. 1 No.1 Maret 2013 ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/selonding.v1i1.325
<![CDATA[Gondang SitolupuluTolu is a type of traditional music ensemble comprised of three instruments namely; Sarunei, taganing, Gordang and Ogung instruments. The existence Gondang SitolupuluTolu today, still considered important in the social culture of the region Silahisabungan Medan North Sumatra province, because music is considered as a medium of expression that can describe the disclosure of customs value and as a manifestation of religious communities Silahisabungan. Gondang SitolupuluTolu traditional music is one that can survive in their communities, because music is still used as the primary means sacred or media that can not be separated King Memorial Ceremony celebration party Silahisabungan which hitherto still exist conducted in each year based on custom and tradition that still applies in the community or clan groups Silahisabungan in Medan North Sumatra province. Keywords: Gondang Sitolupupu Tolu, Pesta Tugu, Function]]>
<![CDATA[TETABUHAN DALAM UPACARA NGABEN SEBUAH TINJAUAN MUSIKOLOGIS ]]>
<![CDATA[I Nyoman Cau Arsana]]>
<![CDATA[ SELONDING Vol.2, No.2, September 2012 ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/selonding.v2i2.336
<![CDATA[The study aims to explore the musical aspects of percussions in the process of Ngaben ritual with musicological approach. There are three types of percussion to be analyzed; Balaganjur Peponggangan, Gender Wayang, and Angklung. The analysis indicates that the processing of musical elements that include melody, rhythm, harmony, tempo, and dynamics established in the three types of percussions are quite harmonious with the ritual procession. This indicates a close relationship between the percussion and the ritual that reflects the concept of the Balinese Hindus on their culture and religion. Keywords: Tetabuhan, Ngaben, Musical Aspect]]>
<![CDATA[TEPAK KENDANG JAIPONGAN DALAM LAGU DAUN PULUS KÉSÉR BOJONG ]]>
<![CDATA[Asep Saepudin]]>
<![CDATA[ SELONDING Vol.2, No.2, September 2012 ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/selonding.v2i2.337
<![CDATA[The drum beat of Daun Pulus Keser Bojong or Keser Bojong is the most popular drum beat in West Java in 1980s. This paper aims to explore a variety of Jaipongan drum beats in the Daun Pulus Keser Bojong composition on descriptive analytic basis. By this method, the author explored a variety of musical elements that characterized the song with its particular drum beats, either in their forms and structures. Further, other musical instruments such as bonang, kecrek, lagu, gending, kempul, and goong were also taken into account. Among those characteristics is the dominant improvised drum beats at the beginning of the song (pangkat) with a quite long duration, which is nine times of gong sounding that never existed in other previous traditional ensembles. Keywords: strokes, jaipongan, késér bojong]]>
<![CDATA[MENELUSURI ASAL MUASAL LAHIRNYA ORKES KOLINTANG MINAHASA ]]>
<![CDATA[Dinar Sri Hartati]]>
<![CDATA[ SELONDING Vol.2, No.2, September 2012 ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/selonding.v2i2.339
<![CDATA[Kolintang is amusical genre. It is well known as a musical ensemble came from Minahasa, in North Celebes. But, many people do not know yet about the history of how this music was built, And why its construction and instrumens composition are as like as this time. This article describes about the contextual backround on how this music was builtand who are and the agents as the maker. Keywords: Kolintang, History, Minahasa]]>
<![CDATA[SENI RESITASI ROYONG DALAM RITUAL DAUR HIDUP ETNIS MAKASSAR DI KABUPATEN GOWA ]]>
<![CDATA[Solihing .]]>
<![CDATA[ SELONDING Vol.2, No.2, September 2012 ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/selonding.v2i2.340
<![CDATA[Royong recital performance art is a song or chanting in an artistic lyric. The ethnic of Makassar believe that the lyric chanted by royong reciting singers represents the prayer for safety and protection to live the life of the one chanted with royong lyric. In the life-cycle ceremony of a wedding, the chanted lyric of royong implies a prayer for happiness and wellbeing. The lyric recited during the life-cycle ritual, especially attompolok and assuna, represents mythical story to incite good fortune, prevent turmoil, and salvation prayer. It is also intended to form a character based on existing norms, for the survival of their children later, and the recitation is in Makassar Turiolo (the anchestors). The story in the royong lyric, according to the people of Makassar, is a myth believed to bring wellbeing for the chanted child, and is praying for the child to grow in a healthy condition until his or her adulthood. Keywords: Royong, Initiation, Makasar people]]>
<![CDATA[KARAWITAN WAYANG WALISANGA SEBAGAI MANIFESTASI MUSIK SENI ISLAMI ]]>
<![CDATA[Wasiran .]]>
<![CDATA[ SELONDING Vol.2, No.2, September 2012 ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/selonding.v2i2.342
<![CDATA[The Walisanga’s puppet performance has its uniqueness which is able to distinguish to another type of puppet performance. One of the uniqueness is the song or the piece. In accordance with the identity, song, and the lyric has to be appropriate with the Islamic religion. This phenomenon is very interesting to investigate as long as the song appropriate with the Islamic value. In order to understand the object, this investigation uses gamelan music knowledge and hermeneutic. The result is a synergy correlation between gamelan music pieces with the Islamic religious proselytizing using gamelan music performance, as a form of specific Javanese culture to the Indonesian society which is majority consist of Moslems community. Keywords: Karawitan, Walisanga Puppets, Islamic Music]]>
<![CDATA[Sakralisasi VS Desakralisasi, Takhayul VS Rasionalisme Dalam Studi Sejarah Kesenian Berutuk Dari Desa Trunyan, Bali ]]>
<![CDATA[Fisabil Mahardika Putra]]>
<![CDATA[ SELONDING Vol 13, No 13 (2018): Maret 2018 ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/selonding.v13i13.2915
<![CDATA[This paper answer the question of what a Berutuk Art from the Trunyan village of Bali is seen from historic there the art was once very sacred, then how the implementation of art and why now that started from the year 1997 experienced desacralization. To answer questions, the research method used is literature study. The result of the research, the art of berutuk originally is a very sacred art, because it can bring prosperity that is realized with the coming rain. In the execution of art is played by a males who still virgin with an odd number, then two of them act as a Batara Berutuk and queen. Today the art of berutuk desacralization due to modernisation which refers to the approach of rationalism which is contrary to superstition or unreasonable.Keywords: the art of berutuk, execution, desacralization, modernization, rationalism, superstition]]>
<![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 ]]>
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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[SERUNE KALEE DALAM UPACARA INTAT LINTO BARO DI BANDA ACEH ]]>
<![CDATA[Rusdi Asman]]>
<![CDATA[ SELONDING Vol 15, No 1 (2019): Maret 2019 ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/selonding.v15i1.3112
<![CDATA[Seurune kalee is an inflatable instrument that is still owned by the people of Aceh. The existence of seurune kalee untill now is used in the implementation of the intat linto baro ceremony, opening ceremonial event, welcoming guest, and celebrating Islamic holidays. The implementation of intat linto baro uses seurune kalee as part of this implementation, so that the music played has function in the Acehnese comunity. Performing arts are divided into two groups, namely primary function groups and secondary groups. The main approach of this study is ethnomusicology aided by anthropology, sociology, and history. The metology used in this study is qualitative method. The implementation of intat linto baro uses accompanistment as a sign that a group of families and indigenous people from the linto baro party are connnecting with friendship and ratification of young man and young women in carrying out religious and customary family relation. The songs used are Peumulia Jamee and Ranup Lampuan. This implementation is a sacred ceremonial moment for the Aceehnese particular. Music function during the implementation of intat linto baroe is a means of traditional ceremonies, entertaiment facilities, and means of aesthetic presentation. The implementation of intat linto baro is a simbolic implementation in a society that is religiously and customarily held by a person who initiate and the songs played are known by Acehnese comunity]]>
<![CDATA[Story of Love ]]>
<![CDATA[Antonius Edi Dwi Purnomo]]>
<![CDATA[ SELONDING Vol 11, No 11 (2017): MARET 2017 ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/selonding.v11i11.2960
<![CDATA[The work of art has the goal of music as a form of application of enculturation as idium cultural phenomenon in the making. Story of Love is a work of art inspired by the journey of love two people who have different cultural backgrounds, the process of melting a man against a culture. This musical artwork has three parts form with the translation of each individual human being into the idea of cultivating to the union of two human beings. This musical artwork using idium tradition as a basic foundation with an emphasis on Java and Minangkabau culture. Methods of augmentation, retrobasi, harmony, and dynamics is the method used in the process of cultivating a work entitled Story of Love. This work is one manifestation of which music is a universal means of communication. This music works also as a form of art conservation teradisi as a form of respect to the local culture.Keywords: cultural phenomenon enculturation, the journey of love, music universal means of communication, cultural preservation.]]>
