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[“Reflection” Penciptaan Komposisi Dengan Menerapkan Rumus Matematis Refleksi ]]>
<![CDATA[Adi Wijaya]]>
<![CDATA[ SELONDING Vol 12, No 12 (2017): SEPTEMBER 2017 ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/selonding.v12i12.2928
<![CDATA[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]]>
<![CDATA[Keruncong Stambul Fajar Dalam Acara Selamat Laut Di Pulau Mendanau Kabupaten Belitung ]]>
<![CDATA[Irwansyah Irwansyah]]>
<![CDATA[ SELONDING Vol 13, No 13 (2018): Maret 2018 ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/selonding.v13i13.2919
<![CDATA[Mendanau Island is one of the islands located in Belitung archipelago. People in Mendanau island mostly work as fishermen. The fishermen community in Mendanau island, precisely in the village of Suak Gual, held a ceremony once a year called Selamat Laut. This ceremony was held in several days by performing traditional art performance, one of them is Keruncong Stambul Fajar(KSF) music. KSF music consists of several instruments namely three ukulele, one viul / violin, one acoustic guitar, and a bass guitar. KSF music is played at the completion of the Selamat Laut ceremony during a shared meal called Bedulang. This study aims to reveal the form of presentation, function and reason of KSF music taking part in the ceremony. The ethnomusicological approach is used as the main approach in this study, with the help of other sciences such as anthropology, sociology and linguistics. The research was conducted by field observation and literature review.The Selamat Laut ceremony is a form of expression of the request for salvation and a request to be kept away from the bad things that may happen while sailing, which in the implementation is led by a village shaman followed by all fishing communities in the village of Suak Gual. KSF music itself was involved in the ceremony as the performers after the Selamat Laut ceremony to accompany the people enjoying the meal, that presented as musical and pantun performances using traditional clothes on the stage. The KSF Group of Pengekar Campo presenting two songs called KSF Semol and KSF Dua Mol, with a musical form of 20 bars for KSF Semol and 18 bars for KSF Dua Mol. Music KSF has two functions i.e. primary and secondary function. The primary functions included the function as a means of entertainment, and as an aesthetic presentation. Secondary functions included the function as solidarity enchancher and as a communication medium. Through the function of the KSF music make it as music that always involved in various events, that KSF music can be said as the identity of the Mendanau island community. Keywords: Selamat Laut Ceremony, Musical Performance, Keruncong Stambul Fajar.]]>
<![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 ]]>
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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[TAMBUR PEH-CUN SEBAGAI IRINGAN LOMBA PERAHU NAGA DALAM UPACARA PEH-CUN DI TANGERANG BANTEN ]]>
<![CDATA[Muhammad Solidio Gloryan Nasir]]>
<![CDATA[ SELONDING Vol 15, No 1 (2019): Maret 2019 ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/selonding.v15i1.3110
<![CDATA[The Chinese Benteng community which inhabits the Tangerang Banten area is a community that has customs as practiced by its ancestors from China. The tradition he lived is the Peh-Cun ceremony. The party was carried out from ritual processions to entertainment in the form of dragon boat racing competitions. This is an attraction in conducting a study of the object. The research uses qualitative methods. Direct observations are made to understand some of the phenomena that exist during the ceremony by taking data in the field and interviews. The results of this study consisted of two aspects, first, the manifestation of the obedience and loyalty of the Chinese Benteng community towards Tian (God) and Khut Guan (the legendary figure in the Peh-Cun ceremony). The second result, the Peh-Cun celebration besides providing entertainment to the community, there was also an encouragement that encouraged the people of Chinese Benteng. It was seen when the dragon boat racing competition accompanied by drummers and shouts could be responded by the contest participants. If the musical phenomenon is drawn into a broader realm, the dragon boat race can motivate the Chinese Benteng ethnic community to remain strong and firm in their lives, namely the realization of balance, as found in the Yin-Yang concept that they believe in.]]>
<![CDATA[KESINAMBUNGAN DAN PROSES TRANSMISI KELENTANGAN DALAM KONTEKS RITUAL MASYARAKAT DAYAK BENUAQ DI KALIMANTAN TIMUR ]]>
<![CDATA[Eli Irawati]]>;
<![CDATA[Wisma Nugraha]]>;
<![CDATA[Timbul Haryono]]>
<![CDATA[ SELONDING Vol 11, No 11 (2017): MARET 2017 ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/selonding.v11i11.2958
<![CDATA[Transmission is one of the notable issues due to its role in the continuity of local-traditional musical practices across the globe. This paper aims to explore the transmission of kelentangan music and its link with the continuity of the music.Using ethnographic approach, this study deal with kelentangan not merely as musical sound but as a results of music making and varius activities in the daily life of Benuaq people. This study shows that, firstly, transmission of knowledge and skilss od kelentangan occurred between penu’ung to penu’ung and between penu’ung and its audiences. The second, kelentangan is closely tied with the extra-musical contexts. There has been no specific learning institution in Dayak Benuaq culture to the teaching and learning of the music. The third, the transmission of kelentangan not only generates the regenerations of its musicians, but also of its audiences. Last but not least, transmission has been one of notable elemets of the continuity of music. Transmission however cannot be operating in itself. It instead closely tied to various extra-musical context and activities in the life of Benuaq people, ranging from profane to the sacred one. In other words, it is located in the ecosystem of culture of Benuaq people. The transmission of kelentangan takes place in part due Benuaq peopleare still remain conduct their culture in line with their ancestors life in the past. Thus, to maintain the continuity of kelentangan music means to maintain the ecosystem of culture of Benuaq people. Keywords: Kelentangan, Transmission, Continuity, Contexts, Ecosystem of Culture]]>
<![CDATA[Ansambel Musik Nggo Lamba Dalam Upacara Pati Ka Du’a Bapu Ata Mata Di Danau Kelimutu Ende Flores Nusa Tenggara Timur ]]>
<![CDATA[Ariesty Victoria Kartina]]>
<![CDATA[ SELONDING Vol 12, No 12 (2017): SEPTEMBER 2017 ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/selonding.v12i12.2924
<![CDATA[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.]]>
<![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 ]]>
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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[Pencug ]]>
<![CDATA[Adimas Muhammad Fajariansyah]]>
<![CDATA[ SELONDING Vol 13, No 13 (2018): Maret 2018 ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/selonding.v13i13.2921
<![CDATA[The time until now the existence of tepak pencug has not found a place in the hearts of the composers or other creators to make it as the source of creation in realizing a work of art (music). Though tepak pencug often used as a creativity event of a rider in accompanying dance jaipong for improvisation rythm. That way, it is clear that many patterns or motifs of Sundanese drums are born by improvisations. That is the good idea for creation to be developed into a work of music. Based on the symptoms of that’s the meaning, the idea that becomes an offer in the work of pencug music is to cultivate or explore the motives that exist in kendang sunda (especially tepak pencug) into a work of art object (music).The purpose of the creation of the compositions of musical works is to develop patterns, rhythms and motifs in the form of music composition. While the benefit is to contribute thoughts about the process of creation through the development of patterns, rhythms and motifs in the drum kendang Sunda to other creators. The realization of the work of this musical composition can’t be separated from various sources that provide inspiration and guidance or reference. This work uses two types of sources as a reference, namely the source of art work and some sources of books (literature of review). The work of the composition of pencug music refers to the concept of working on Suwanda as the owner and creator of tepak kendang jaipongan. These methods include; Salambar directly saayana tinu heubeul (what it is from the first), janten ku nyira (so by itself or improvisation) and ngarobah nu aya (change existing). The form of musical composition of pencug composition refers to the concept of musical form of vocal-instrumental mix (sekar gending). The structure of the composition of the music composition consists of three parts, among which part bubuka, stuffing and ending. Keywords: Tepak Pencug, Development, Sekar Gending.]]>
<![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 ]]>
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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[GENDING SANDYAGITA KARYA I WAYAN SENEN TINJAUAN BENTUK DAN FUNGSI ]]>
<![CDATA[Putri Wulandari]]>
<![CDATA[ SELONDING Vol 11, No 11 (2017): MARET 2017 ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/selonding.v11i11.2963
<![CDATA[I Wayan Senen is a composer who has a created of the gending sandyagita as a religious gending for Hinduist activities in Yogyakarta. There are several factors of the created gending-gending sandyagita is internal factors and external factors. Which included in internal factors is the desire of achivement, would like to adoption the creation method of Wayan Beratha, and donate the result of artworks. Which included in external factors is birth of a phenomenon, social interaction and a request from an event. In the creation gending sandyagita of Senen, has a mix of karawitan Jawa dan karawitan Bali. Karawitan Jawa is used as a source of design among other forms of gending sampak, vocal melody macapat pangkur, pattern of tabuhan gamelan sekaten, and the main melody vocal panjang ilang. The gamelan creation that used in sandyagitafor Senen is gamelan Semarandana. The method of used in this research is qualitative research. Gending sandyagita has three function, there are ritual ceremoni, entertaiment, and estetic presentation.]]>
