DOCSLIB.ORG

Appendix Version 1.40

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Appendix Version 1.40 EN/ES/DE/FR/NL/IT/SV/PT/CN/RU/ID Appendix Version 1.40 Apéndice Versión 1.40 Anhang Version 1.40 Appendice Version 1.40 Appendix Versie 1.40 Appendice Versione 1.40 Bilaga Version 1.40 Apêndice Versão 1.40 Lampiran Versi 1.40 MZX300APPEND-140-WL-1A Tone List Lista de tonos Klangfarbenliste Liste des sonorités Toonlijst Lista dei timbri 1 Group Name Nombre del grupo Gruppenname Nom de groupe Groepsnaam Nome di gruppo 2 Number Número Nummer Numéro Nummer Numero 3 Tone Name Nombre del tono Klangfarbenname Nom de sonorité Toonnaam Nome di timbro Changement de Program Change Cambio de programa Programmwechsel Programmaverandering Cambio di programma 4 programme MSB de selección de Bank Select MSB Bankwahl MSB MSB sélection de banque Bankselectie MSB MSB di selezione banco 5 banco 6 Line Select Selección de línea Line-Wahl Sélection de ligne Regelselectie Selezione linea Tonlista Lista dos sons Daftar Nada 1 Gruppnamn Nome do grupo Nama Grup 2 Nummer Número Nomer 3 Tonnamn Nome do som Nama Nada 4 Programändring Mudança de programa Ganti Program 5 Bankval MSB MSB de seleção de banco MSB Pilih Bank 6 Linjeval Seleção de linha Pilih Baris 12 3 456 12 3 456 PIANO ELEC PIANO 0053 ELEC.PIANO 3 4 4 Direct PIANO 0001 GRAND PIANO CONCERT 0 2 DSP ELEC PIANO 0054 ELEC.PIANO 4 4 5 Direct PIANO 0002 GRAND PIANO BRIGHT 1 2 Direct ELEC PIANO 0055 ELEC.PIANO 5 4 6 Direct PIANO 0003 GRAND PIANO MELLOW 0 3 DSP ELEC PIANO 0056 ELEC.PIANO 6 4 13 Direct PIANO 0004 POP PIANO 0 5 DSP ELEC PIANO 0057 ELEC.PIANO 7 4 14 Direct PIANO 0005 ROCK PIANO 1 3 DSP ELEC PIANO 0058 ELEC.PIANO 8 4 15 Direct PIANO 0006 JAZZ PIANO 1 4 DSP ELEC PIANO 0059 60’S E.PIANO 1 4 7 Direct PIANO 0007 DANCE PIANO 1 1 5 Direct ELEC PIANO 0060 60’S E.PIANO 2 4 8 Direct PIANO 0008 DANCE PIANO 2 1 6 DSP ELEC PIANO 0061 60’S E.PIANO 3 4 9 DSP PIANO 0009 GRAND PIANO MODERN 0 4 DSP ELEC PIANO 0062 60’S E.PIANO 4 4 10 DSP PIANO 0010 GRAND PIANO CLASSIC 0 9 Direct ELEC PIANO 0063 60’S E.PIANO 5 4 11 DSP PIANO 0011 GRAND PIANO DOLCE 0 10 DSP ELEC PIANO 0064 60’S E.PIANO 6 4 12 DSP PIANO 0012 GRAND PIANO STUDIO 0 17 DSP ELEC PIANO 0065 DYNO ELEC.PIANO 1 4 16 DSP PIANO 0013 LA PIANO 1 7 Direct ELEC PIANO 0066 DYNO ELEC.PIANO 2 4 17 Direct PIANO 0014 TACK PIANO 0 18 DSP ELEC PIANO 0067 DIGITAL E.PIANO 1 5 2 Direct PIANO 0015 MONO PIANO 1 0 6 Direct ELEC PIANO 0068 DIGITAL E.PIANO 2 5 3 Direct PIANO 0016 MONO PIANO 2 0 7 DSP ELEC PIANO 0069 DIGITAL E.PIANO 3 5 4 Direct PIANO 0017 HONKY-TONK 1 3 2 Direct ELEC PIANO 0070 DIGITAL E.PIANO 4 5 5 Direct PIANO 0018 HONKY-TONK 2 3 4 Direct ELEC PIANO 0071 DIGITAL E.PIANO 5 5 6 Direct PIANO 0019 OCTAVE PIANO 1 3 3 Direct ELEC PIANO 0072 DIGITAL E.PIANO 6 5 7 Direct PIANO 0020 OCTAVE PIANO 2 3 5 Direct ELEC PIANO 0073 DIGITAL E.PIANO 7 5 8 Direct PIANO 0021 GRAND PIANO WIDE 0 8 Direct ELEC PIANO 0074 DIGITAL E.PIANO 8 5 9 Direct PIANO 0022 BRIGHT PIANO WIDE 1 8 Direct ELEC PIANO 0075 DIGITAL E.PIANO 9 5 10 Direct PIANO 0023 HONKY-TONK WIDE 3 6 Direct ELEC PIANO 0076 DIGITAL E.PIANO 10 5 11 Direct PIANO 0024 STRINGS PIANO 0 11 DSP ELEC PIANO 0077 ANALOG E.PIANO 1 5 12 DSP PIANO 0025 SYNTH-STR.PIANO 0 12 Direct ELEC PIANO 0078 ANALOG E.PIANO 2 5 13 DSP PIANO 0026 CHOIR PIANO 0 14 Direct ELEC PIANO 0079 CHORUS E.PIANO 1 4 18 Direct PIANO 0027 VOICE PIANO 0 16 Direct ELEC PIANO 0080 CHORUS E.PIANO 2 4 19 Direct PIANO 0028 PIANO PAD 0 13 Direct ELEC PIANO 0081 PHASER E.PIANO 1 4 20 DSP PIANO 0029 PIANO CHIME 0 15 Direct ELEC PIANO 0082 PHASER E.PIANO 2 4 21 DSP PIANO 0030 ELEC.GRAND PIANO 2 2 Direct ELEC PIANO 0083 TREMOLO E.PIANO 1 4 22 DSP PIANO 0031 MODERN E.G.PIANO 2 3 Direct ELEC PIANO 0084 TREMOLO E.PIANO 2 4 23 DSP PIANO 0032 CHORUS E.G.PIANO 2 4 Direct ELEC PIANO 0085 WAH E.PIANO 1 4 24 DSP PIANO 0033 ELEC.GRAND PIANO WIDE 2 5 Direct ELEC PIANO 0086 WAH E.PIANO 2 4 25 DSP PIANO 0034 HARPSICHORD 1 6 2 DSP ELEC PIANO 0087 AMP E.PIANO 1 4 26 DSP PIANO 0035 HARPSICHORD 2 6 3 Direct ELEC PIANO 0088 AMP E.PIANO 2 4 27 DSP PIANO 0036 HARPSICHORD 3 6 6 Direct ELEC PIANO 0089 CRUNCH E.PIANO 4 28 DSP PIANO 0037 HARPSICHORD 4 6 7 Direct ELEC PIANO 0090 DIZZY E.PIANO 4 29 DSP PIANO 0038 COUPLED HARPSICHORD 6 4 DSP ELEC PIANO 0091 E.PIANO 1 WIDE 4 30 Direct PIANO 0039 HARPSICHORD WIDE 6 8 Direct ELEC PIANO 0092 E.PIANO 2 WIDE 5 14 Direct PIANO 0040 HARPSICHORD & STRINGS 6 5 Direct ELEC PIANO 0093 MELLOW E.PIANO 4 31 Direct PIANO 0041 USER 1 0 65 ELEC PIANO 0094 STRINGS E.PIANO 4 32 Direct PIANO 0042 USER 2 1 65 ELEC PIANO 0095 SYN-STR E.PIANO 4 33 Direct PIANO 0043 USER 3 2 65 ELEC PIANO 0096 CHOIR E.PIANO 4 34 Direct PIANO 0044 USER 4 3 65 ELEC PIANO 0097 E.PIANO PAD 4 35 Direct PIANO 0045 USER 5 4 65 ELEC PIANO 0098 OFF VELO.CLAVI 1 7 2 Direct PIANO 0046 USER 6 5 65 ELEC PIANO 0099 OFF VELO.CLAVI 2 7 3 Direct PIANO 0047 USER 7 6 65 ELEC PIANO 0100 CLAVI 1 7 4 Direct PIANO 0048 USER 8 7 65 ELEC PIANO 0101 CLAVI 2 7 5 Direct PIANO 0049 USER 9 8 65 ELEC PIANO 0102 CLAVI 3 7 6 Direct PIANO 0050 USER 10 9 65 ELEC PIANO 0103 CLAVI WIDE 7 7 Direct ELEC PIANO 0051 ELEC.PIANO 1 4 2 Direct ELEC PIANO 0104 WAH CLAVI 1 7 8 DSP ELEC PIANO 0052 ELEC.PIANO 2 4 3 Direct ELEC PIANO 0105 WAH CLAVI 2 7 9 DSP 2 12 3 456 12 3 456 ELEC PIANO 0106 CRUNCH CLAVI 7 10 DSP ORGAN 0180 PIPE ORGAN 1 19 2 Direct ELEC PIANO 0107 VIBRAPHONE 1 11 2 DSP ORGAN 0181 PIPE ORGAN 2 19 3 Direct ELEC PIANO 0108 VIBRAPHONE 2 11 3 Direct ORGAN 0182 PIPE ORGAN 3 19 4 Direct ELEC PIANO 0109 VIBRAPHONE 3 11 4 Direct ORGAN 0183 PIPE ORGAN 4 19 5 Direct ELEC PIANO 0110 VIBRAPHONE WIDE 11 5 Direct ORGAN 0184 CHAPEL ORGAN 1 19 6 Direct ELEC PIANO 0111 CELESTA 8 2 Direct ORGAN 0185 CHAPEL ORGAN 2 19 7 Direct ELEC PIANO 0112 BRIGHT CELESTA 8 3 DSP ORGAN 0186 ORGAN FLUTE 19 8 Direct ELEC PIANO 0113 GLOCKENSPIEL 9 2 Direct ORGAN 0187 TREMOLO ORGAN FLUTE 19 9 Direct ELEC PIANO 0114 MUSIC BOX 1 10 2 Direct ORGAN 0188 THEATER ORGAN 19 10 Direct ELEC PIANO 0115 MUSIC BOX 2 10 3 DSP ORGAN 0189 REED ORGAN 20 2 Direct ELEC PIANO 0116 ORGEL 10 4 DSP ORGAN 0190 PUFF ORGAN 20 5 Direct ELEC PIANO 0117 MARIMBA 12 2 Direct ORGAN 0191 USER 31 0 66 ELEC PIANO 0118 MARIMBA WIDE 12 3 Direct ORGAN 0192 USER 32 1 66 ELEC PIANO 0119 SINE MARIMBA 12 4 Direct ORGAN 0193 USER 33 2 66 ELEC PIANO 0120 XYLOPHONE 13 2 Direct ORGAN 0194 USER 34 3 66 ELEC PIANO 0121 BALIMBA 13 3 Direct ORGAN 0195 USER 35 4 66 ELEC PIANO 0122 LOG DRUMS 13 4 Direct ORGAN 0196 USER 36 5 66 ELEC PIANO 0123 TUBULAR BELL 14 2 Direct ORGAN 0197 USER 37 6 66 ELEC PIANO 0124 CHURCH BELLS 14 3 DSP ORGAN 0198 USER 38 7 66 ELEC PIANO 0125 CARILLON 14 4 Direct ORGAN 0199 USER 39 8 66 ELEC PIANO 0126 USER 11 10 65 ORGAN 0200 USER 40 9 66 ELEC PIANO 0127 USER 12 11 65 DRAWBAR ORGAN 0201 VTW BASIC FULL 0 96 DSP ELEC PIANO 0128 USER 13 12 65 DRAWBAR ORGAN 0202 VTW BASIC 4+ 1 96 DSP ELEC PIANO 0129 USER 14 13 65 DRAWBAR ORGAN 0203 VTW BASIC 3 BOTTOM 2 96 DSP ELEC PIANO 0130 USER 15 14 65 DRAWBAR ORGAN 0204 VTW BASIC 2 3 96 DSP ELEC PIANO 0131 USER 16 15 65 DRAWBAR ORGAN 0205 VTW 880800008 4 96 DSP ELEC PIANO 0132 USER 17 16 65 DRAWBAR ORGAN 0206 VTW BASIC 3++ VARI 5 96 DSP ELEC PIANO 0133 USER 18 17 65 DRAWBAR ORGAN 0207 VTW BASIC 3 VARI 6 96 DSP ELEC PIANO 0134 USER 19 18 65 DRAWBAR ORGAN 0208 VTW BASIC HOLLOW 7 96 DSP ELEC PIANO 0135 USER 20 19 65 DRAWBAR ORGAN 0209 VTW BASIC GREEN 8 96 DSP ELEC PIANO 0136 USER 21 20 65 DRAWBAR ORGAN 0210 VTW BASIC ARCHED 9 96 DSP ELEC PIANO 0137 USER 22 21 65 DRAWBAR ORGAN 0211 VTW BASIC COMPING 10 96 DSP ELEC PIANO 0138 USER 23 22 65 DRAWBAR ORGAN 0212 VTW BASIC CHORD 11 96 DSP ELEC PIANO 0139 USER 24 23 65 DRAWBAR ORGAN 0213 VTW BASIC LFFT 12 96 DSP ELEC PIANO 0140 USER 25 24 65 DRAWBAR ORGAN 0214 VTW BASIC GOSPEL 13 96 DSP ELEC PIANO 0141 USER 26 25 65 DRAWBAR ORGAN 0215 VTW BASIC COMPING VARI 14 96 DSP ELEC PIANO 0142 USER 27 26 65 DRAWBAR ORGAN 0216 VTW BASIC 3RD 15 96 DSP ELEC PIANO 0143 USER 28 27 65 DRAWBAR ORGAN 0217 VTW 3RD BASIC 3+ 16 96 DSP ELEC PIANO 0144 USER 29 28 65 DRAWBAR ORGAN 0218 VTW 3RD BASIC 4 VARI 17 96 DSP ELEC PIANO 0145 USER 30 29 65 DRAWBAR ORGAN 0219 VTW 3RD COMPING VAR 18 96 DSP ORGAN DRAWBAR ORGAN 0220 VTW 3RD FULL C1 19 96 DSP ORGAN 0146 ELEC.ORGAN 1 16 2 DSP DRAWBAR ORGAN 0221 VTW BASIC SIZZLE 20 96 DSP ORGAN 0147 ELEC.ORGAN 2 16 3 Direct DRAWBAR ORGAN 0222 VTW BASIC GREEN+ 21 96 DSP ORGAN 0148 ELEC.ORGAN 3 16 4 Direct DRAWBAR ORGAN 0223 VTW 16+FUNDAMENTAL 22 96 DSP ORGAN 0149 ELEC.ORGAN 4 16 5 Direct DRAWBAR ORGAN 0224 VTW COMPING+ 23 96 DSP ORGAN 0150 PERC.ORGAN 1 17 2 DSP DRAWBAR ORGAN 0225 VTW COMPING VAR1 24 96 DSP ORGAN 0151 PERC.ORGAN 2 17 3 DSP DRAWBAR ORGAN 0226 VTW FUNDAMENTAL COMP 25 96 DSP ORGAN 0152 PERC.ORGAN 3 17 4 DSP DRAWBAR ORGAN 0227 VTW TEST PRINCIPAL SIN 26 96 DSP ORGAN 0153 PERC.ORGAN 4 17 5 DSP DRAWBAR ORGAN 0228 VTW GOSPEL ADD 27 96 DSP ORGAN 0154 ROCK ORGAN 1 18 2 DSP DRAWBAR ORGAN 0229 VTW GOSPEL 3RD 28 96 DSP ORGAN 0155 ROCK ORGAN 2 18 3 Direct DRAWBAR ORGAN 0230 VTW COMPING 3RD+ 29 96 DSP ORGAN 0156 ROCK ORGAN 3 18 4 Direct DRAWBAR ORGAN 0231 VTW SACRIFICE 30 96 DSP ORGAN 0157 ROCK ORGAN 4 18 5 DSP DRAWBAR ORGAN 0232 VTW LEAVE 31 96 DSP ORGAN 0158 JAZZ ORGAN 1 17 6 DSP DRAWBAR ORGAN 0233 VTW EWAY 32 96 DSP ORGAN 0159 JAZZ ORGAN 2 17 7 DSP DRAWBAR ORGAN 0234 VTW ROLL IT 33 96 DSP ORGAN 0160 JAZZ ORGAN 3 17 8 Direct DRAWBAR ORGAN 0235 VTW L’OVE 34 96 DSP ORGAN 0161 JAZZ ORGAN 4 17 9 DSP DRAWBAR ORGAN 0236 VTW WHITER 35 96 DSP ORGAN 0162 ELEC.ORGAN 5 16 6 DSP DRAWBAR ORGAN 0237 VTW EXCITED 36 96 DSP ORGAN 0163 ELEC.ORGAN 6 16 7 DSP DRAWBAR ORGAN 0238 VTW INSIDENT 37 96 DSP ORGAN 0164 ELEC.ORGAN 7 16 8 Direct DRAWBAR ORGAN 0239 VTW GR VARI 38 96 DSP ORGAN 0165 ELEC.ORGAN 8 16 9
Load more

Recommended publications
  • ICTM Abstracts Final2
    ABSTRACTS FOR THE 45th ICTM WORLD CONFERENCE BANGKOK, 11–17 JULY 2019 THURSDAY, 11 JULY 2019 IA KEYNOTE ADDRESS Jarernchai Chonpairot (Mahasarakham UnIversIty). Transborder TheorIes and ParadIgms In EthnomusIcological StudIes of Folk MusIc: VIsIons for Mo Lam in Mainland Southeast Asia ThIs talk explores the nature and IdentIty of tradItIonal musIc, prIncIpally khaen musIc and lam performIng arts In northeastern ThaIland (Isan) and Laos. Mo lam refers to an expert of lam singIng who Is routInely accompanIed by a mo khaen, a skIlled player of the bamboo panpIpe. DurIng 1972 and 1973, Dr. ChonpaIrot conducted fIeld studIes on Mo lam in northeast Thailand and Laos with Dr. Terry E. Miller. For many generatIons, LaotIan and Thai villagers have crossed the natIonal border constItuted by the Mekong RIver to visit relatIves and to partIcipate In regular festivals. However, ChonpaIrot and Miller’s fieldwork took place durIng the fInal stages of the VIetnam War which had begun more than a decade earlIer. DurIng theIr fIeldwork they collected cassette recordings of lam singIng from LaotIan radIo statIons In VIentIane and Savannakhet. ChonpaIrot also conducted fieldwork among Laotian artists living in Thai refugee camps. After the VIetnam War ended, many more Laotians who had worked for the AmerIcans fled to ThaI refugee camps. ChonpaIrot delIneated Mo lam regIonal melodIes coupled to specIfic IdentItIes In each locality of the music’s origin. He chose Lam Khon Savan from southern Laos for hIs dIssertation topIc, and also collected data from senIor Laotian mo lam tradItion-bearers then resIdent In the United States and France. These became his main informants.
    [Show full text]
  • The Role of Cultural Radios in Campursari Music Proliferation in East Java
    ETNOSIA: JURNAL ETNOGRAFI INDONESIA Volume 5 Issue 2, DECEMBER 2020 P-ISSN: 2527-9319, E-ISSN: 2548-9747 National Accredited SINTA 2. No. 10/E/KPT/2019 A Virtual Ethnography Study: The Role of Cultural Radios in Campursari Music Proliferation in East Java Zainal Abidin Achmad1, Rachmah Ida2, Mustain3 1 Universitas Pembangunan Nasional Veteran Jawa Timur, Indonesia. E-mail: [email protected] 2 Universitas Airlangga, Indonesia. E-mail: [email protected] 3 Universitas Airlangga, Indonesia. E-mail: [email protected] ARTICLE INFO ABSTRACT Keywords: Campursari music is a trend on the radio and a favorite of the people campursari music; of East Java, so it is shifting towards popular culture. This study aims cultural proximity; to uncover the proliferation of campursari music and the role of cultural radio; virtual cultural radios. This qualitative research uses a virtual ethnography ethnography method, which focuses on the physical presence and virtual text together. The subjects are technology (radio and communication How to cite: technology on the internet), humans (radio listeners), physical Achmad, Z.A., Ida, R., interactions, and virtual interactions. Data collection used participant Mustain. (2020). A observation through observation and interviews offline and online in Virtual Ethnography the form of various texts, writings, images, and audiovisuals on Study: The Role of Facebook, Twitter, WhatsApp, Instagram, and Youtube. The Cultural Radios in informants of this study were four cultural experts, namely: Sumadi, Campursari Music Anton Sani, Ibnu Hajar, and Juwono. This study carried out Proliferation in East Java. participatory involvement for one year in the virtual world and 30 ETNOSIA: Jurnal days living in four cities: Surabaya, Nganjuk, Banyuwangi, and Etnografi Indonesia.
    [Show full text]
  • ANDREW N. WEINTRAUB Department of Music University Of
    ANDREW N. WEINTRAUB Department of Music University of Pittsburgh Office Address Home Address 110 Music Building 618 S. Lang Ave University of Pittsburgh Pittsburgh, PA 15208 Pittsburgh, PA 15260 Tel.: (412) 242-4686 Tel.: (412) 624-4184 Fax: (412) 624-4186 E-mail: [email protected] Internet: http://www.pitt.edu/~anwein EDUCATION Ph.D. Music/Ethnomusicology (1997) University of California, Berkeley Dissertation: “Constructing the Popular: Superstars, Performance, and Cultural Authority in Sundanese Wayang Golek Purwa of West Java, Indonesia” M.A. Music/Ethnomusicology (1990) University of Hawai‘i at Manoa Thesis: “The Music of Pantun Sunda, an Epic Narrative Tradition of West Java, Indonesia” B.A. Music (1985) Honors University of California, Santa Cruz Thesis: “A Manual for Learning Sundanese Gamelan” EMPLOYMENT HISTORY University of Pittsburgh, Professor of Music (2010-present), Associate Professor of Music (2004-2010), Assistant Professor of Music (1998-2004), Visiting Assistant Professor of Music (1997-1998) University of California, Los Angeles, Lecturer in Music (Spring 1997) University of California, San Diego, Lecturer in Music (Spring 1996 - Spring 1997) RESEARCH KEYWORDS Indonesia; Southeast Asia; ethnomusicology; popular music; sound repatriation; cultural rights; music and Islam ANDREW N. WEINTRAUB 5/10/18 Page 2 PUBLICATIONS Books Vamping the Stage: Female Voices of Asian Modernities (co-editor with Bart Barendregt). Honolulu: University of Hawaii Press, 2017. Islam and Popular Culture in Indonesia and Malaysia (editor). London and New York: Routledge, 2011. • Reviewed in Journal of Asian Social Science; Sojourn; Asian Ethnology; Journal of the Humanities and Social Sciences of Southeast Asia and Oceania; Asian Studies Review; Journal of Religion and Popular Culture; Political Studies Review; Musicultures.
    [Show full text]
  • DANGDUT KOPLO: SELERA LOKAL MENJADI SELERA NASIONAL Michael H.B
    DANGDUT KOPLO: SELERA LOKAL MENJADI SELERA NASIONAL Michael H.B. Raditya Institut Seni Indonesia – Yogyakarta [email protected] Abstrak Dangdut Koplo merupakan sebuah kesenian yang berasal dari masyarakat dengan geo-kultur tertentu, yakni Pantura dan Jawa Timur. Namun demikian, dangdut koplo tetap merupakan bagian dari genre musik dangdut secara umum. Perkembangan dangdut koplo semakin terejwantahkan jika bertolak dari konstelasi yang terjadi belakangan. Hal ini turut terejawantahkan dengan masifnya genre ini di televisi. Namun di awal perkembangannya, genre ini tidak terlalu mulus, terlebih ketika Inul Daratista naik kelas dari panggung hajatan ke panggung televisi. Hal ini turut merubah kiblat dangdut ala Rhoma menjadi dangdut koplo. Naiknya intensitas atensi masyarakat akan dangdut koplo telah menjadi lonjakan besar bagi masyarakat pelakunya. Dangdut koplo seakan menjadi selera bersama, selera lokal yang menasional. Namun yang menjadi persoalan adalah eksploitasi dangdut koplo mulai tidak wajar. Singkat kata, artikel ini akan menilik kembali persoalan selera dan estetika lokal yang menasional. Proses analisis yang didapat bahwa estetika dangdut koplo turut dikonstruksi kembali oleh televisi Kata Kunci: Dangdut Koplo, Estetika, distribusi, lokalitas, nasional Pendahuluan menciptakan hal yang baru dengan intepretasi Tidak dipungkiri bahwa dangdut merupakan masyarakatnya. Singkat kata, hal ini turut diartikan genre musik paling fenomenal di Indonesia. sebagai proses apropriasi masyarakat lokal. Kekuatan dangdut tidak hanya terdapat pada aspek Jika menilik kembali pada persoalan seni musikal, namun turut terdapat pada aspek yang paling dasar. Kesenian merupakan salah satu kontekstual. Dalam hal ini, dangdut selalu unsur dari tujuh unsur kebudayaan, selain sistem diibaratkan dekat dengan rakyat. Selain alunan religi, bahasa, ilmu pengetahuan, sistem kekerabatan, musiknya yang membuat untuk bergoyang, teks dari mata pencarian, dan teknologi (Koentjaraningrat, lagu dangdut turut menceritakan keketiran dan cerita- 1979).
    [Show full text]
  • Use Style: Paper Title
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Binus University Repository Indonesian's Dangdut Music Classification Based on Audio Features Ferdinand Mahardhika Harco Leslie Hendric Spits Warnars Yaya Heryadi Computer Science Departement, Computer Science Departement, Computer Science Departement, BINUS Graduate Program - Doctor of BINUS Graduate Program - Doctor of BINUS Graduate Program – Doctor of Computer Science. Computer Science. Computer Science. Bina Nusantara University Bina Nusantara University Bina Nusantara University Jakarta, Indonesia 11480 Jakarta, Indonesia 11480 Jakarta, Indonesia 11480 [email protected] [email protected] [email protected] Lukas Cognitive Engineering Research Group (CERG), Faculty of Engineering, Universitas Katolik Atma Jaya. Jakarta, Indonesia 12930 [email protected] Abstract—The uniqueness of modern dangdut music today dance music, sometimes there are similarities that are at first is in the beat and melody of music that is relatively faster like glance difficult to distinguish. techno dance music, and the progressive melody arrangement from synthesizer keyboard. In this paper, we will extract audio In this paper, we will extract audio features from music, features from music, and then used that features for and then used that features for classification based on classification based on machine learning methods. Support machine learning methods. The goal in this study is to do Vector Machine (SVM) was used in this study. In this paper’s music clustering between two class of genre music, which is experiment we use 32 audio music files, consisting of 16 for dangdut music and techno dance music. dangdut music and 16 for techno dance music.
    [Show full text]
  • Lorentz, Korinna
    MASTERARBEIT im Studiengang Crossmedia Publishing & Management Erfolgversprechende Melodien – Analyse der Hooklines erfolgreicher Popsongs zur Erkennung von Mustern hinsichtlich der Aufeinanderfolge von Tönen und Tonlängen Vorgelegt von Korinna Gabriele Lorentz an der Hochschule der Medien Stuttgart am 08. Mai 2021 zur Erlangung des akademischen Grades eines „Master of Arts“ Erster Betreuer und Gutachter: Prof. Dr. Oliver Wiesener Zweiter Betreuer und Gutachter: Prof. Oliver Curdt E-Mail: [email protected] Matrikelnummer: 39708 Fachsemester: 4 Geburtsdatum, -ort: 15.04.1995 in Kiel Danksagung Mein größter Dank gilt Professor Dr. Oliver Wiesener für das Überlassen des Themas und die umfangreiche Unterstützung bei methodischen und stochastischen Überlegungen. Ich danke ihm insbesondere dafür, dass er trotz einiger anderer Betreuungsprojekte meine Masterarbeit angenommen hat und somit meinen Wunsch, im Musikbereich zu forschen, ermöglicht hat. Des Weiteren möchte ich meinem Freund und meiner Familie dafür danken, dass sie sich meine Problemstellungen bis zum Ende hin angehört haben und mir immer wieder Inspi- rationen für neue Lösungswege geben konnten. Besonderer Dank gilt meiner Mutter, Gabriele Lorentz, mit der ich interessante Gespräche zu musikalischen Themen führen konnte und mei- nem Vater, Dr. Thomas Lorentz, mit dem ich nächtliche Diskussionen über Markov-Ketten und Neuronale Netzwerke hatte. Ich danke meinen Eltern und meinem Freund, Michael Feuerlein, für die kritische Durchsicht der Arbeit. Kurzfassung In der vorliegenden Masterarbeit wurden die Melodie-Hooklines von Popsongs, die in Deutsch- land zwischen 1978 und 2019 sehr erfolgreich waren, explorativ analysiert. Ziel war, zu unter- suchen, ob gewisse Muster in den Reihenfolgen der Töne und Tonlängen vorkommen, und diese zu finden. Für die Mustersuche wurden Markov-Ketten erster, zweiter und dritter Ord- nung sowie Chi-Quadrat-Anpassungstests berechnet.
    [Show full text]
  • 333398-Dangdut-Koplo-Tubuh-Seksualitas-Dan-Aren-519943Dc.Pdf
    ISSN 2745-7168 (DARING) r a t o r o i b u a m Sosiologi L u ooddimaddima JURNAL PEMIKIRAN DAN RISET SOSIOLOGI VOL. 1 NO. 2 DESEMBER 2020 Membaca Ulang ‘Guncangan Besar’ Francis Fukuyama ENENG DAROL AFIAH Sosiologi Sebagai the Queen of Social Sciences: Stereotip Warga Tionghoa dalam Geopolitik Sebuah Refleksi Hubungan Indonesia dengan Tiongkok RACHMAD K. DWI SUSILO TAUFIK HIDAYADI HENNY SAPTATIA DRAJATI NUGRAHANI Antara Iman dan Kenikmatan: Dinamika Pengelolaan Sumber Daya Air Konstruksi Gagasan Pascamodernisme Ariel Heryanto di Situ Kemuning, Cimanggis Kabupaten Bogor FARIZ ALNIZAR NANA KRISTIAWAN Konsolidasi Demokrasi Dangdut Koplo: Tubuh, Seksualitas, dan Arena Melalui Liga Santri Nusantara Kekuasaan Perempuan INDHAR WAHYU WIRA HARJO MOH. FAIZ MAULANA Smoking Outcome Expectancy: Pengetahuan, Perilaku, dan Konsekuensi Merokok ELMY BONAFITA ZAHRO u ooddimaddima JURNAL PEMIKIRAN DAN RISET SOSIOLOGI VOL. 1 NO. 2 DESEMBER 2020 ISSN 2745-7168 (DARING) Editor in Chief Eneng Darol Afiah,Universitas Nahdlatul Ulama Indonesia Jakarta Managing Editor Naeni Amanulloh, Universitas Nahdlatul Ulama Indonesia Jakarta Editor Amsar A. Dulmanan, Universitas Nahdlatul Ulama Indonesia Jakarta Pangeran P.P.A. Nasution, Universitas Malikussaleh Muhammad Nurul Huda, Universitas Nahdlatul Ulama Indonesia Jakarta Muhammad Mustafid,Universitas Nahdlatul Ulama Yogyakarta Mujtaba Hamdi, Universitas Nahdlatul Ulama Indonesia Jakarta Fikri Tamau, Universitas Pembangunan Nasional Veteran Jakarta Hanifa Maulidia, Sekolah Tinggi Imigrasi Dewi Anggraeni, Universitas Nahdlatul Ulama Indonesia Jakarta Muhammad Nurun Najib, Universitas Nahdlatul Ulama Indonesia Jakarta R.M. Joko P. Mulyadi, Universitas Nahdlatul Ulama Indonesia Jakarta Moh. Faiz Maulana, Universitas Nahdlatul Ulama Indonesia Jakarta Reviewer Achmad Munjid, Universitas Gajah Mada, Yogyakarta, Indonesia Ahmad Suaedy, Universitas Nahdlatul Ulama Indonesia, Jakarta, Indonesia Syamsul Hadi, Universitas Nahdlatul Ulama Indonesia, Jakarta, Indonesia Moh.
    [Show full text]
  • Gramophone Records and Radio in the Late Colonial Era, 1903-1942
    Music and media in the Dutch East Indies: Gramophone records and radio in the late colonial era, 1903-1942 Philip Bradford Yampolsky A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2013 Reading Committee: Philip D. Schuyler, Chair Ter Ellingson Laurie J. Sears Program Authorized to Offer Degree: Music © 2013 Philip Bradford Yampolsky University of Washington Abstract Music and media in the Dutch East Indies: Gramophone records and radio in the late colonial era, 1903-1942 Philip Bradford Yampolsky Chair of the Supervisory Committee: Associate Professor Emeritus Philip D. Schuyler Music This dissertation is intended as an ethnomusicological contribution to the history of music and media in Indonesia. It deals with topics and resources that have never been systematically examined for this region: gramophone records and radio broadcasting from the years before World War II, the last years of Dutch colonial control. The gramophone records are our only documentation of the sound of Indonesian music in the years before World War II. This dissertation tries to identify (and to some extent provide) the information one needs in order to understand the records and, by extension, stylistic trends during the pre-war period. Ultimately it is meant as an argument for the importance of making use of historical recordings and discography in ethnomusicology. The use of gramophone records from before World War II (“78s”) in musicology and ethnomusicology is growing. Robert
    [Show full text]
  • Rising Influence of Ethnic Music in Indonesia: a Closer Look at Javanese Campursari
    ISSUE: 2020 No. 104 ISSN 2335-6677 RESEARCHERS AT ISEAS – YUSOF ISHAK INSTITUTE ANALYSE CURRENT EVENTS Singapore | 15 September 2020 Rising Influence of Ethnic Music in Indonesia: A Closer Look at Javanese Campursari Made Supriatma* EXECUTIVE SUMMARY • The death of a Javanese pop star may offer new ways of interpreting Javanese youths’ cultural taste. Didi Kempot, a singer and songwriter, had greatly enhanced their attraction to Campursari, a hybrid of Javanese keroncong (langgam) and dangdut music. • Indonesia’s pop music scene reflects class divisions within the nation—the national pop music (which is strongly influenced by Western elements) largely represents the taste of the middle and upper classes, while the most popular musical genre, dangdut, is embraced by the lower classes. • After the collapse of the New Order, regional and ethnic music became more influential within Indonesian pop culture. Campursari is part of this trend, particularly among the Javanese, the largest ethnic group in Indonesia. • The popularity of campursari reflects the search for a Javanese identity among the Javanese youth, even as they undergo social and cultural changes such as the rise of religious orthodoxy. • Ethnic pop music has also been made more accessible by new media such as YouTube. • While the political significance is still tentative, politicians who seek to enhance their appeal in the Javanese heartland would be mindful of the ongoing search for cultural authenticity among Javanese youths. * Made Supriatma is Visiting Fellow with ISEAS – Yusof Ishak Institute. 1 ISSUE: 2020 No. 104 ISSN 2335-6677 INTRODUCTION Javanese pop star Didi Kempot (born: Dionisius Prasetyo) died of a heart attack on May 5, 2020 in Surakarta, Central Java.
    [Show full text]
  • CATHARSIS Dangdut Koplo Las Vegas Pati
    CATHARSIS 7 (1) 2018 : 124-12 CATHARSIS http://journal.unnes.ac.id/sju/index.php/catharsis Dangdut Koplo Las Vegas Pati : The Analysis of Song form Structure and Creativity of Process Bandhu Tandho1, Tjetjep Rohendi Rohidi2 1 SMP 1 Tambakromo Pati, Indonesia 2 Universitas Negeri Semarang, Indonesia Article Info Abstrac ________________ Article History: Dangdut Koplo is part of dangdut music genre that grows due to the influence Recived January 2018 of culture and music industry. The purpose of the study is to gain the Accepted May 2018 understanding about the song form structure and process creativity of Dangdut Published August 2018 ________________ Koplo “Las Vegas” performance in Pati. This research used interdisciplinary Keywords: approach in the fields of music and psychology with qualitative descriptive the structure of the song analytic method. The technique of data collection was through observation, form, Creativity work, interview, and documentation. The data validity technique used triangulation dangdut koplo Las Vegas. of source and theory triangulation, while data analysis technique was done by ____________________ textual analysis,i.e., musical analysis and contextual with interactive data analysis model using the process of data reduction, data presentation, and draw conclusion/verification. Research results show that the song form structure of Dangdut Koplo “Las Vegas” has different in its musical composition form. The process creativity of Dangdut Koplo “Las Vegas” is through 4 (four) dimensions of definition based on its emphasis,they are person, process, product and press. The steps to express the process creativity are: (1) idea of process, (2) process, (3process goal and, (4) process results. Research results show that Dangdut Koplo group “Las Vegas” is a dangdut music group that occurs due to the enthusiastic from Pati society’swith Dangdut Koplo musical entertainment.
    [Show full text]
  • SEM 2012 Annual Meeting (With AMS and SMT) Program Schedule
    SEM 2012 Annual Meeting (with AMS and SMT) Program Schedule Monday, October 29th AMS Ecocriticism Study Group and SEM Ecomusicology Special Interest Group Outings: Mid-day - -- 4:30 pm Cancer Alley/River Road Reality Tour 5:00 pm - -- 6:00 pm Soundwalk: Environmental Listening & the Tulane Soundscape, Tyler Kinnear 5:00 pm - -- 9:00 pm Ecomusicologies 2012, Tulane University (Rogers Memorial Chapel) Tuesday, October 30th 8:00 am - -- 9:00 pm Ecomusicologies 2012, Tulane University (Rogers Memorial Chapel) Wednesday, October 31st 8:30 am - -- 5:30 pm Pre-Conference Symposium: Crisis and Creativity Tulane University (Lavin-Bernick Center for University Life, McAllister Place and Freret Street) 7:30 am - -- 3:00 pm Ethnomusicology Goes to Middle School: All-school assembly of participatory music-making and shorter in-depth experiences of musical cultures with smaller classes of students SEM Education Section in collaboration with DeeDee Johnson, St. George’s Episcopal School Midday - -- Evening AMS Ecocriticism Study Group and SEM Ecomusicology Special Interest Group Outing: Honey Island Swamp Tour 5:00 - -- 10:00 pm SEM Board of Directors SEM President’s Suite Thursday, November 1 8:00 am - -- 12:00 pm SEM Board of Directors SEM President’s Suite SEM 2010 Preliminary Program Thursday, Morning Sessions 1-xx SEM 8:30 - -- 10:30 S-Maurepas Video-streaming Music and Disability Studies Devin Burke (Case Western Reserve), Chair William Ellis (Saint Michael’s College), ‘‘I Can’t Make the Journal by Myself: Blindness as a Transformative Trope in
    [Show full text]
  • Isbn: 978-602-50956-6-5
    “Re-Imagining Difference and Extremism: Regional and Global Perspectives” | ISBN: 978-602-50956-6-5 Literary Studies Conference 2018 | 1 PROCEEDINGS The 6th LITERARY STUDIES CONFERENCE “Re-Imagining Differenece and Extremism: Regional and Global Perspectives” 11-12 October 2018 Advisory Board: Dr. Gabriel Fajar Sasmita Aji, M.Hum. Dr. Fr. B. Alip, M.Pd., M.A. Sri Mulyani, Ph.D. Dr. Tatang Iskarna (English Letters Department, Universitas Sanata Dharma, Indonesia) Dr. Novita Dewi, M.S., M.A. (Hons.) Paulus Sarwoto, Ph.D. (Graduate Program in English Language Studies, Universitas Sanata Dharma, Indonesia) Dr. Suchart Setthamalinee (Head of the Department of Peace Studies, Payap University, Thailand) Dr. Oscar Campomanes (The Department of English, Ateneo de Manila University, Philippines) Elisabeth Arti Wulandari, Ph.D. (Clarkson University, United States of America) Editors: Naomy Bunga Rastafari Harris Hermansyah Setiajid Hosted by English Letters Department Graduate Program in English Language Studies Universitas Sanata Dharma, Yogyakarta, Indonesia in cooperation with Ateneo de Manila University, Philippines Fakultas Sastra Universitas Sanata Dharma Yogyakarta 2018 “Re-Imagining Difference and Extremism: Regional and Global Perspectives” | ISBN: 978-602-50956-6-5 PROCEEDINGS The 6th LITERARY STUDIES CONFERENCE 2018 “Re-Imagining Difference and Extrimism: Regional and Global Perspectives” Copyright ©2018 Fakultas Sastra Universitas Sanata Dharma Published by Fakultas Sastra Universitas Sanata Dharma Jl. Affandi, Mrican Yogyakarta 55022. Telp. (0274) 513301, 515253 Ext.1324 Editors Naomy Bunga Rastafari Harris Hermansyah Setiajid Cover Designer KY Gr@fitri Lay-outer Naomy Bunga Rastafari Harris Hermansyah Setiajid First publishing 195 pages; 210 × 297 mm. ISBN: 978-602-50956-6-5 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transmitted in any form, or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher.
    [Show full text]