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SELONDING

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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 129 Documents

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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.

Nglebur Laras Teteh Dayatami
SELONDING Vol 13, No 13 (2018): Maret 2018
Publisher : Institut Seni Indonesia Yogyakarta

The concept of nglebur laras this time is interpreted as the concept of melting the barrel in all situations and conditions in the Karawitan art activity area. The concept can be interpreted as a draw concept, it will not draw if you forget the barrel between them (between the barrel of the pelog and between the barrel of the slendro). Everything always passes between them. Between the barrel of the pelog and the barrel of slendro, half pelog and half slendro it is the behavior of the barrel event which cannot be guessed its existence in the strains of Karawitan's gendhing. Whatever form of sound character is displayed by the barrel of pelog, slendro, and between the two, the fact is that the phenomenon of mixed barrel beating is still called the class of the barrel (of course), and on the concept of karawitan (in particular). The spread of this mixed barrel work is indeed very rapid, especially in the Java area. Pengrawit social society that often makes works by processing mixed tunings is now very spoiled, the habit of looking for the attention of the general public, making the general public become excited by the existence of mixed barrel work, considered uniqueness that is not boring. On the contrary, if the general public understands the condition and essence of the barrel work in general, it will be a suspicion that might be considered damaging the standard and so on.The actualization sought was to create an archipelago music art work with a gender instrument by mixing the duality of the barrel, namely pelog and slendro in one instrument. This Nglebur Laras has multiple interpretations. Nglebur is a term used by gamelan makers / craftsmen, which means the activity of mixing raw materials (iron, tin, copper) into liquid. Nglebur can be interpreted as melting mix or which can also be called mbesot. Nglebur is the main ingredient in making gamelan because iron, tin and copper which are still hard must be cooked first to the point of melting. Then the barrel is the essence that plays an important role in the world of Karawitan. Laras has two special concepts called pelog and slendro. These two different concepts certainly have different characters. Laras is one of the important pieces of furniture. Laras consists of two groups, namely, pelog barrel and slendro barrel. Both types of barrel are one of the two main elements that characterize music. Laras in the world of karawitan has three plural meanings, namely, first; something that is (comfortable) or delicious to be heard or lived, second; namely the sound that has been determined the number of frequencies (penunggul, gulu, dhadha, pelog, lima, nem and item). The third meaning is the scale or scale, which is the arrangement of the notes in the number of sequences and the interval patterns of the tones have been determined. The taste is related to tastes like the expression Rahayu Supanggah in his book Bothekan Karawitan I that 'the barrel is very close to taste, taste can be formed by culture, including local traditions and habits'. The two words that are deliberately combined through all the 'combinations' that the author means are infallibility or an interesting possibility of all possibilities that might occur. It can also be understood that the title of the Nglebur Laras is a synergy or a fusion of all the anxieties in human social culture and social culture of Javanese music (especially the Javanese Gamelan).Keywords: Nglebur, barrel, and unity.

Belentung Sebagai Identitas Musik Pada Komunitas Konser Kampung Desa Jatitujuh Majalengka Jawa-Barat Shintia Ananias
SELONDING Vol 14, No 14 (2018): SEPTEMBER 2018
Publisher : Institut Seni Indonesia Yogyakarta

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.

TEMBANG (LAGU) DOLANAN ANAK SEBAGAI INSPIRASI PENCIPTAAN TARIAN ANAK Untung Muljono
SELONDING Vol 11, No 11 (2017): MARET 2017
Publisher : Institut Seni Indonesia Yogyakarta

Tembang Dolanan Anak is a creation (fruit of thought) or the composition of the language with the rules of the standard (gumathok) which way of reading it must be dilagukan by using the beauty of sound owned. Tembang (sekar) Java is divided into two categories, namely classic and folk type. The classical tembang is a tembang whose source is from the Javanese royal court from the time of Kediri to Mataram Islam (Yogyakarta and Surakarta), therefore the rules are very strict. The song that developed in the people's circle (in the Hindu era belongs to the caste of waisya and sudra) the mention is "song, lagon, or lelagon" there is no binding rule (free) only certain songs. Types of Dolanan Tembang Anak many developed in society that tell about behavior pattern and character owned by children. Therefore Tembang Dolanan Anak has a noble value education on the meaning contained in it. It inspires children's dance making. The method used in applying in the form of child dance that is with the approach of phenomenology with emphasis on the strength of creative ideas creation by Edmund Huserr. Phenomenology in his view does not make the object a fact but rather abstracts the objects.The results obtained by looking at the source of inspiration from Tembang Dolanan Anak make the child dance more meaningful in the forms of movement that was created. The choreography created can be tailored to the child's character and behavioral patterns.

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.

Popularitas Gamelan Gong Kebyar Dalam Arena Pertarungan Kekuasaan Gamelan Bali Kadek Rismandika
SELONDING Vol 13, No 13 (2018): Maret 2018
Publisher : Institut Seni Indonesia Yogyakarta

Gong kebyar is the most popular Balinese gamelan ensemble. Gong kebyar is a new class of Balinese gamelan created between 1910 and 1915 in the north of Bali. The popularity of gong kebyar is used as a medium in the arena of power struggles. The analysis of this study uses the ethnomusicology point of view in discussing gong kebyar in the context of Balinese culture and sociology discipline to discuss gong kebyar in social scope critically. "Kebyar" refers to the Bourdieu power theory that used as a cultural capital in the arena of Balinese gamelan power struggle. Gong kebyar through cultural capital of the symbolic value "kebyar" gained dominance in the arena of Balinese gamelan power struggle. Balinese gamelan outside gong kebyar experiencing changes in the form of “tabuh gong” is the inclusion of the “tabuh gong” which is the identity of musical character of Gong kebyar. Keywords: gong kebyar, kebyar, cultural capital, Balinese gamelan.

Pengendang Perempuan Dalam Karawitan Jawa Pengiring Perayaan Ekaristi di Gereja Pugeran Yogyakarta Andaru Kumara Jati
SELONDING Vol 14, No 14 (2018): SEPTEMBER 2018
Publisher : Institut Seni Indonesia Yogyakarta

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.

Iringan Musik Dalam Pantomim Nur Iswantara
SELONDING Vol 13, No 13 (2018): Maret 2018
Publisher : Institut Seni Indonesia Yogyakarta

Pantomime is one of the oldest theater arts, where mime artists tell something just using their body, without talking. Pantomime artists are known for their white makeup and black pigtails, as well as other facial features to exaggerate their emotions. Black and white striped tops, white gloves and black hats are also complete with traditional Pantomime artist costumes. These clothes and makeup have become a tradition of many Pantomime artists. In adding the atmosphere of the movement displayed, a music illustration is given to bring the atmosphere to life.This study uses qualitative methods and action research methods which is a reflective research method. This type of research is able to offer new ways and procedures to improve and enhance the professionalism of pantomime presentation techniques. The approach used is structural and educative. The structure approach is used to solve something related to the arrangement or building of multi-level pantomime presentations, while the educational approach is used to solve those relating to pantomime education.Music illustrations in the Pantomime show can support the atmosphere of the show. The music played can be adjusted to the theme of the movement played by a Pantomime. Keywords: Pantomime, Illustration of Music, Atmosphere.

FUNGSI MUSIK NDOTO DALAM RITUAL NGAGHA MERE Blandina Wenika Djawa
SELONDING Vol 15, No 1 (2019): Maret 2019
Publisher : Institut Seni Indonesia Yogyakarta

Ndoto is one of the musical instruments that is quite important in the Ngagha Mere ritual, a ritual of giving thanks and giving sweet potato as an offering to the ancestors, namely ine ebu kaju, by the Wajo people in Nagekeo District, Flores, East Nusa Tenggara. The importance of Ndoto's function in rituals also did not allow the indigenous people to play after the ceremony was completed and even the photos had to be split and burned to become a source of fire for Sweet Potatoes. This fact becomes an interesting phenomenon to be explored.The phenomenon of making photographs that should not be played and become a source of fire in the ritual procession of Ngagha Mere in the context of culture is a case of problems so that this type of research uses qualitative case studies with data collection techniques in the form of observation and interviews.The results show that the function ndoto in the Ngagha Mere ritual is a means of communication.

Ghuwai Cetik Aris Tiano
SELONDING Vol 11, No 11 (2017): MARET 2017
Publisher : Institut Seni Indonesia Yogyakarta

Cetik is a traditional tool Lampung derived from Skala kingdom Brak Lampung West. Estimated to have existed since centuries 485sm. While the word comes from Lampung ghuwai which means create, make, do a job. Two words into ghuwai cetik, the musical instrument made of bamboo. Stylist interest by making cetik instrument is the source of the sound produced.Ghuwai cetik or how to make traditional musical instruments Lampung is an inspiration to stylists to be a theme in the musical composition. After finding inspiration in realizing further various stages such as stages of selection, cutting, tunings and finishing. The method used in the work of this musical composition using the Re-Interpretation and contemporary approach.Keywords: Ghuwai cetik, Process.

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Ary Wijayanto

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Daerah istimewa yogyakarta

INDONESIA

Abstract

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Abstract

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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

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