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
129 Documents
<![CDATA[Suling Dewa dalam upacara Ngaponin Suku Sasak ]]>
<![CDATA[Muhammad Arsyad]]>
<![CDATA[ SELONDING Vol 12, No 12 (2017): SEPTEMBER 2017 ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/selonding.v12i12.2927
<![CDATA[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]]>
<![CDATA[Kajian Akulturasi Pada Aspek Intramusikal Dalam Komposisi Musik Program “Watu Pinawetengan” ]]>
<![CDATA[Yudi Novrian Komalig]]>
<![CDATA[ SELONDING Vol 13, No 13 (2018): Maret 2018 ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/selonding.v13i13.2918
<![CDATA[Music as part of culture is always changing. These changes can occur due to several things, one of them through acculturation. Acculturation is the intercultural contact of culturally intercultural groups that leads to cultural change for the group.Acculturation can be seen in a musical genre that combines two cultural idioms. One of them is the musical composition of Watu Pinawetengan program which will be described in this article. The composition of Watu Pinawetengan music program is a music program with string quartet format and instrument of tambur (percussion instrument of Minahasa). This musical composition consists of three movements, where each movement is inspired from Minahasa folklore about the origin of the division of agricultural areas. The first movement tells the story of the daily life of the Minahasan people. The second move tells the story of the conflict that occurred in the fight over agricultural land. While the third movement tells about negotiations to resolve conflicts in the division of agricultural areas.The musical composition of the program combines the ethical idioms of Minahasa music and western music. These idioms are manifested in the intramusic aspect, whether they are realized as melodies or harmonies. The merging of these two idioms will result in an acculturation. This acculturation process will be described in this article. What intramusical aspects are acculturated, the extent to which acculturation causes change, and which culture is stronger in its influence on other cultures. Keywords: Music, Composition.]]>
<![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 ]]>
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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[Fungsi Musik Dayak Kanayatn ]]>
<![CDATA[Amir Razak]]>;
<![CDATA[Ferdinand Ferdinand]]>
<![CDATA[ SELONDING Vol 15, No 1 (2019): Maret 2019 ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/selonding.v15i1.3109
<![CDATA[Kanayatn Dayak music in the anthro-social aspect experienced a multiplication of functions caused by sublimation of local musical genius intra-extras and the human needs of the community, where until now the description of ethnic music, especially Dayak Kanayatn is still not widely explained in the cultural context, so this research focuses on describing functions of Dayak kanayatn music in community activities.Qualitative narrative is an effort to describe the process or function of Dayak Kanayatn music so that it can provide interpretation in accordance with facts in the community, where data collection is through literature study, observation and documentation while data analysis uses domain interpretation techniques.The results showed that Dayak Kanayatn music had several functions including; entertainment facilities, commodification of tourism, ratification of social institutions, integration of social groups, propaganda media, local cultural identity, informal education facilities.]]>
<![CDATA[Penggunaan Instrumen Cello Dalam Langgam Jawa ]]>
<![CDATA[Sudarno Sudarno]]>
<![CDATA[ SELONDING Vol 12, No 12 (2017): SEPTEMBER 2017 ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/selonding.v12i12.2934
<![CDATA[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.]]>
<![CDATA[INTERNET DAN MUSIK: MEDIA SOSIAL SEBAGAI WAHANA PUBLIKASI THE UPSTAIRS DAN DEATH FLAMES ]]>
<![CDATA[Sujud Puji Nur Rahmat]]>;
<![CDATA[Lono Simatupang]]>;
<![CDATA[Harsawibawa Albertus]]>
<![CDATA[ SELONDING Vol 13, No 13 (2018): Maret 2018 ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/selonding.v13i13.2913
<![CDATA[Nowdays internet has become an important elemen in people life across the globe. Its impact has been seen in various scenes including music business and other artistic fields. Social media, running in support of internet, are now common in use by musicians or bands. Free of charge and global access of internet and social media provide an opportunity to disseminating the existence of a group of musicians. In this paper I would to show how social media has been utilized by a band to promote their group by themselves, focusing on myspace account of two bands, The Upstairs and death Flames. I divide this paper into introduction, an overview of www.myspace.com as well as a brief profile of the two bands, and a discussion on their account, kinds of responses and communication that established based on the accounts. Keywords: internet, musicians, band,and disseminating]]>
<![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 ]]>
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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[Mantra Sebagai Ide Penciptaan Musik Etnis Jampi ]]>
<![CDATA[Gigih Ovra Wulanda]]>
<![CDATA[ SELONDING Vol 13, No 13 (2018): Maret 2018 ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/selonding.v13i13.2922
<![CDATA[Mantra is the title of a musical work with spells of West Kalimantan ethnic Malays as the main material for its work. The purpose of this composition is to express spell duality. The concept of duality here is a mantra that is useful as a medium of goodness and a second mantra as a medium for danger. The word mantra itself can be interpreted as words when spoken containing mystic or sacred.Through the stages of exploration, improvisation, until finally the process of explicitly forming spells of musical composition can be seen as a form of music that has three parts. Covers the beginning, middle and end. This composition is played by two different idioms including ethnic musical instruments and ethnic Javanese musical instruments. Keywords: dualism, spells, Malay, mystical]]>
<![CDATA[FUNGSI PAJIDOR DALAM PESTA PA’BUNTINGANG ]]>
<![CDATA[Achmad Maulana]]>
<![CDATA[ SELONDING Vol 15, No 1 (2019): Maret 2019 ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/selonding.v15i1.3114
<![CDATA[Pajidor is a musical art performance that uses flutes, jidor, and ropolo (drums or tambourines). As one of the traditional types of Makassar ethnic music, pajidor has quite an important function in community activities as evidenced by its frequent use in pa’buntingang. Based on this phenomenon, the focus of the research is to describe the function of pajidor in the pa’buntingang.This study uses qualitative methods sourced from library research, interviews, observations, documentation, which is equipped with data analysis.This research shows that pajidor is a musical performance art at pa'buntingang event with a function as a means of entertainment and aesthetic pleasure. ]]>
<![CDATA[SIGN OF MORSE #2 ]]>
<![CDATA[Ossi Darma Desprian]]>
<![CDATA[ SELONDING Vol 11, No 11 (2017): MARET 2017 ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/selonding.v11i11.2962
<![CDATA[Sign of Morse # 2 is a creation of ethnic musical composition inspired by the empirical experience of the author, that is overseas trip undertaken from their hometown to the other areas to seek new experiences.Sign of Morse # 2 sourced with three ethnic groups in Indonesia, namelyPadang, Berau and Yogyakarta. The authors add textual idea of using Morse as the cultivation of the material so that the concept more interesting creation.The background of the birth of a creation based on the basic functions and interests as well as the hearts of the composer itself. Social criticism, natural phenomena, even outpouring composer a wide variety of content contained in a creation. Sign of Morse # 2 has a goal to provide a reference musical ideas through Morse and hope to contribute to the community or audience of creation in order to become a lighter to always create. The author hopes that the birth of this creation, Morse could serve as an example for contextual idea of making the work of musical composition.Each symbol is a result of word processing Padang, Berau and Jogja given beats to determine measures of which will be used in every part of the composition. As for the tone processing, the author uses the pentatonic represents Javanese (Pelog), Hijaz represent Berau and Minang represented by imitation and Bansi talempong technique that has been processed into a musical composition.]]>
