2552 Correlation and Clusterisation of Traditional Malay Musical Instrument
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Gamelan Gender Wayang of Bali: Form and Style
..................~~.~.~.. ~------------------ WESLEYAN UNIVERSITY Gamelan Gender Wayang of Bali: Form and Style by Kalafya Brown A thesis submitted to the facuIty of Wesleyan University in partial fulfillment of the requirements for the degree of Master of Arts in Music May, 2000 Middletown, Connecticut My teacher, Kak Luweng, and myself playing gender (above) and just sitting (below), 2 Introduction and Acknowledgements I began studying gamelan music in 1994 while I was an undergraduate at the Massachusetts Institute of Technology. No one tends offhand to associate gamelan with MIT. but there it is. Professor Evan Ziporyn has been directing the gong kebyar ensemble Gamelan Galak Tika at MIT since 1993, and I was an active member from 1994 until 1997. Unfortunately the pressure of my studies at Wesleyan has not allowed me to play with Galak Tika as much as I would like in the past few years. For the three years of my tenure with Galak Tika we were blessed with the artistry of the Balinese husband and wife team of I Nyoman Catra and Desak Made Suarti Laksmi. The magnificent teaching and performance prowess of Evan, Catra and Desak formed the basis of my introduction to gamelan music. In 1997 I came to Wesleyan University to study for the degree of Master of Arts in Music, of which this thesis is a part. Here at Wesleyan I have had the great honor of studying with I. M. Harjito and Sumarsam, two Javanese artists. I sincerely thank them for broadening my awareness of the multifaceted natures of Indonesian music and for sharing with me the great beauty of the central Javanese court gamelan. -
Glossary.Herbst.Bali.1928.Kebyar
Bali 1928 – Volume I – Gamelan Gong Kebyar Music from Belaluan, Pangkung, Busungbiu by Edward Herbst Glossary of Balinese Musical Terms Glossary angklung Four–tone gamelan most often associated with cremation rituals but also used for a wide range of ceremonies and to accompany dance. angsel Instrumental and dance phrasing break; climax, cadence. arja Dance opera dating from the turn of the 20th century and growing out of a combination of gambuh dance–drama and pupuh (sekar alit; tembang macapat) songs; accompanied by gamelan gaguntangan with suling ‘bamboo flute’, bamboo guntang in place of gong or kempur, and small kendang ‘drums’. babarongan Gamelan associated with barong dance–drama and Calonarang; close relative of palégongan. bapang Gong cycle or meter with 8 or 16 beats per gong (or kempur) phrased (G).P.t.P.G baris Martial dance performed by groups of men in ritual contexts; developed into a narrative dance–drama (baris melampahan) in the early 20th century and a solo tari lepas performed by boys or young men during the same period. barungan gdé Literally ‘large set of instruments’, but in fact referring to the expanded number of gangsa keys and réyong replacing trompong in gamelan gong kuna and kebyar. batél Cycle or meter with two ketukan beats (the most basic pulse) for each kempur or gong; the shortest of all phrase units. bilah Bronze, iron or bamboo key of a gamelan instrument. byar Root of ‘kebyar’; onomatopoetic term meaning krébék, both ‘thunderclap’ and ‘flash of lightning’ in Balinese, or kilat (Indonesian for ‘lightning’); also a sonority created by full gamelan sounding on the same scale tone (with secondary tones from the réyong); See p. -
Fenomena Kesenian Karawitan Di Gancahan 8 Godean Sleman Yogyakarta
FENOMENA KESENIAN KARAWITAN DI GANCAHAN 8 GODEAN SLEMAN YOGYAKARTA SKRIPSI Diajukan kepada Fakultas Bahasa dan Seni Universitas Negeri Yogyakarta untuk Memenuhi Sebagian Persyaratan guna Memperoleh Gelar Sarjana Pendidikan oleh: Yunar Cahya Kurniawan 11208241015 JURUSAN PENDIDIKAN SENI MUSIK FAKULTAS BAHASA DAN SENI UNIVERSITAS NEGERI YOGYAKARTA 2016 FENOMENA KESENIAN KARAWITAN DI GANCAHAN 8 GODEAN SLEMAN YOGYAKARTA SKRIPSI Diajukan kepada Fakultas Bahasa dan Seni Universitas Negeri Yogyakarta untuk Memenuhi Sebagian Persyaratan guna Memperoleh Gelar Sarjana Pendidikan oleh: Yunar Cahya Kurniawan 11208241015 JURUSAN PENDIDIKAN SENI MUSIK FAKULTAS BAHASA DAN SENI UNIVERSITAS NEGERI YOGYAKARTA 2016 i PERSETUJUAN Skripsi yang berjudul Fenomena Kesenian Karawitan di Gancahan 8 Godean Sleman Yogyakarta ini telah disetujui oleh pembimbing untuk diujikan. Yogyakarta, ……………….. Yogyakarta, ……………….. Pembimbing I Pembimbing II Dr. Ayu Niza Machfauzia, M.Pd Drs. Bambang Suharjana, M.Sn NIP: 19660130 199001 2 001 NIP: 19610906 198901 1 001 ii PENGESAHAN Skripsi yang berjudul berjudul Fenomena Kesenian Karawitan di Gancahan 8 Godean Sleman Yogyakarta ini telah dipertahankan di depan Dewan Penguji pada 11 Maret 2016 dan dinyatakan lulus. DEWAN PENGUJI Nama Jabatan Tanda Tangan Tanggal Drs. Sritanto, M.Pd Ketua Penguji ____________ ______ Drs. Bambang Suharjana, M.Sn Sekretaris Penguji ____________ ______ Drs. Kusnadi, M.Pd Penguji I ____________ ______ Dr. Ayu Niza Machfauzia, M.Pd Penguji II ____________ ______ Yogyakarta, April 2016 Fakultas Bahasa dan Seni Universitas Negeri Yogyakarta Dekan, Dr. Widyastuti Purbani, M.A NIP. 19610524 199001 2 001 iii PERNYATAAN Yang bertanda tangan di bawah ini, saya Nama : Yunar Cahya Kurniawan NIM : 11208241015 Program Studi : Pendidikan Seni Musik Fakultas : Bahasa dan Seni Universitas Negeri Yogyakarta menyatakan bahwa karya ilmiah ini adalah hasil pekerjaan saya sendiri. -
University of Oklahoma Graduate College
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE JAVANESE WAYANG KULIT PERFORMED IN THE CLASSIC PALACE STYLE: AN ANALYSIS OF RAMA’S CROWN AS TOLD BY KI PURBO ASMORO A THESIS SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of MASTER OF MUSIC By GUAN YU, LAM Norman, Oklahoma 2016 JAVANESE WAYANG KULIT PERFORMED IN THE CLASSIC PALACE STYLE: AN ANALYSIS OF RAMA’S CROWN AS TOLD BY KI PURBO ASMORO A THESIS APPROVED FOR THE SCHOOL OF MUSIC BY ______________________________ Dr. Paula Conlon, Chair ______________________________ Dr. Eugene Enrico ______________________________ Dr. Marvin Lamb © Copyright by GUAN YU, LAM 2016 All Rights Reserved. Acknowledgements I would like to take this opportunity to thank the members of my committee: Dr. Paula Conlon, Dr. Eugene Enrico, and Dr. Marvin Lamb for their guidance and suggestions in the preparation of this thesis. I would especially like to thank Dr. Paula Conlon, who served as chair of the committee, for the many hours of reading, editing, and encouragement. I would also like to thank Wong Fei Yang, Thow Xin Wei, and Agustinus Handi for selflessly sharing their knowledge and helping to guide me as I prepared this thesis. Finally, I would like to thank my family and friends for their continued support throughout this process. iv Table of Contents Acknowledgements ......................................................................................................... iv List of Figures ............................................................................................................... -
Connecting Orff Schulwerk and Balinese Gamelanаа
Connecting Orff Schulwerk and Balinese Gamelan CAIS Workshop presented by Elisabeth Crabtree, March 9, 2015 e[email protected] or e[email protected] What is Gamelan? Gamelan refers to a set of Balinese instruments that form up a percussion orchestra (metallophones, bamboo xylophones, gongs, drums, other percussion, and the bamboo flute). It also refers to the style of Balinese music that is played upon the instruments. There are over 30 different types of Gamelan, with various tunings. Gamelan groups perform music to accompany dancers, masked dancers (topeng), and puppet shows (w ayang). There are also “sitting pieces” that are just for listening. The music can be both secular and sacred. Why Teach Gamelan? ➢ Translates easily to Orff Instruments, recorder, and small percussion ➢ Uses cycles and ostinatos, music like the elemental style of Orff ➢ Offers opportunities for differentiated instruction ➢ Teaches cultural awareness and diversity ➢ Has direct applications to many 5th grade California State Standards ➢ It has influenced many composers such as Debussy, Satie, Lou Harrison & others ➢ It’s fun and enjoyable! Students love it and remember it many years later Warm Up Hocket Game 123 (ClapStompSnap) ● With a partner, trade off counting to three. Groups of three are no good for this game. ● Add a clap every time someone says “one.” Next add a stomp for “two” and finally a snap for “three.” Celebrate if you make a mistake, and start again. ● Variation: take out the words and only do body percussion ● Celebrate whenever you make a mistake and try again, increasing the speed ● Point out the pattern: The person who starts says “132” and the second person says “213.” ● Final practice phase, two large groups performing the body percussion piece in hocket Hocket Game: Speaking a Rhyme Tell a nursery rhyme with a partner; alternate each person saying a stanza or phrase. -
Carita Orang Basudara Kisah-Kisah Perdamaian Dari Maluku
Carita Orang Basudara Kisah-kisah Perdamaian dari Maluku Editor: Jacky Manuputty • Zairin Salampessy Ihsan Ali-Fauzi • Irsyad Rafsadi CARITA ORANG BASUDARA CARITA ORANG BASUDARA Kisah-kisah Perdamaian dari Maluku Editor: Jacky Manuputty • Zairin Salampessy Ihsan Ali-Fauzi • Irsyad Rafsadi LEMBAGA ANTAR IMAN MALUKU (LAIM), AMBON PUSAT STUDI AGAMA DAN DEMOKRASI (PUSAD) YAYASAN PARAMADINA, JAKARTA 2014 Perpustakaan Nasional: Katalog Dalam Terbitan (KDT) Manuputty, Jacky et al. CARITA ORANG BASUDARA; Kisah-kisah Perdamaian dari Maluku/Jacky Manuputty et al. — Ambon: Lembaga Antar Iman Maluku & PUSAD Paramadina, 2014 xvi + 404 hlm, 14 cm x 21 cm Editor: Jacky Manuputty - Zairin Salampessy Ihsan Ali-Fauzi - Irsyad Rafsadi Penulis: Abidin Wakano - Aholiab Watloly - Almudatsir Sangadji Dian Pesiwarissa - Dino Umahuk - Elifas T. Maspaitella Gerry van Klinken - Hasbollah Toisuta - Helena M. Rijoly Hilary Syaranamual - Inggrid Silitonga - I.W.J. Hendriks Jacky Manuputty - M. Azis Tunny - M. Noor Tawainela M.J. Papilaja - Nancy Soisa - Novi Pinontoan - Rudi Fofid Rizal Panggabean - Sandra Lakembe - Steve Gaspersz Thamrin Ely - Theofransus Litaay - Tiara Melinda A.S Weslly Johanes - Zainal Arifin Sandia - Zairin Salampessy Penyelaras Naskah: Hanna M.W. Parera Husni Mubarok, Siswo Mulyartono Foto sampul: Agus Lopuhaa Desain sampul: Embong Salampessy Tata Letak: Ivon Silitonga Diterbitkan oleh: Lembaga Antar Iman Maluku Jl. Christina Martha Tiahahu No.17 RT. 003 RW. 01 Kelurahan Amantelu Kecamatan Sirimau - Ambon 97122 bekerjasama dengan Pusad Studi -
Land- En Volkenkunde
Music of the Baduy People of Western Java Verhandelingen van het Koninklijk Instituut voor Taal- , Land- en Volkenkunde Edited by Rosemarijn Hoefte (kitlv, Leiden) Henk Schulte Nordholt (kitlv, Leiden) Editorial Board Michael Laffan (Princeton University) Adrian Vickers (The University of Sydney) Anna Tsing (University of California Santa Cruz) volume 313 The titles published in this series are listed at brill.com/ vki Music of the Baduy People of Western Java Singing is a Medicine By Wim van Zanten LEIDEN | BOSTON This is an open access title distributed under the terms of the CC BY- NC- ND 4.0 license, which permits any non- commercial use, distribution, and reproduction in any medium, provided no alterations are made and the original author(s) and source are credited. Further information and the complete license text can be found at https:// creativecommons.org/ licenses/ by- nc- nd/ 4.0/ The terms of the CC license apply only to the original material. The use of material from other sources (indicated by a reference) such as diagrams, illustrations, photos and text samples may require further permission from the respective copyright holder. Cover illustration: Front: angklung players in Kadujangkung, Kanékés village, 15 October 1992. Back: players of gongs and xylophone in keromong ensemble at circumcision festivities in Cicakal Leuwi Buleud, Kanékés, 5 July 2016. Translations from Indonesian, Sundanese, Dutch, French and German were made by the author, unless stated otherwise. The Library of Congress Cataloging-in-Publication Data is available online at http://catalog.loc.gov LC record available at http://lccn.loc.gov/2020045251 Typeface for the Latin, Greek, and Cyrillic scripts: “Brill”. -
Campursari Karya Manthous: Kreativitas Industri Musik Jawa Dalam Ruang Budaya Massa
Campursari Karya Manthous: Kreativitas Industri Musik Jawa dalam Ruang Budaya Massa Wadiyo Universitas Negeri Semarang, Kandidat Doktor Seni Pertunjukan UGM Jalan Teknika Utara, Pogung, Yogyakarta Timbul Haryono; R.M. Soedarsono Tenaga Pengajar Sekolah Pascasarjana UGM Jalan Teknika Utara, Pogung, Yogyakarta Victor Ganap Tenaga Pengajar ISI Yogyakarta. Jln. Parang Tritis, KM 6.5. Sewon, Bantul, Yogyakarta ABSTRACT Manthous’s Campursari is a blend of Javanese gamelan pentatonic music with popular music in Indonesia which is based on Western diatonic music. The tones of gamelan and the frequencies of the tune are all transformed into diatonic tone frequency. However, the harmonization which is used is pentatonic harmony of Javanese gamelan. Manthous’s Campursari has succesfully become one of the major music industries since it is supported by three components, namely the organizers of the music productions, the current distribution of music productions, and the needs of the community. The role of mass media is also very helpful toward the existence of this work. News about Manthous’s and his Campursari spread out widely to the public through the mass media. In a relatively short time of its emergence, Manthous’s Campursari has become a mass cultural Javanese music. Keywords: Campursari, mass culture, music industry ABSTRAK Campursari karya Manthous adalah sebuah campuran dari musik pentatonik gamelan Jawa dengan musik populer di Indonesia yang mengacu pada 2 musik diatonis Barat. Nada gamelan dan frekuensi lagu semuanya ditransformasikan menjadi nada frekuensi diatonis. Namun, harmonisasi yang digunakan adalah harmoni pentatonis gamelan Jawa. Campursari karya Manthous telah berhasil menjadi salah satu industri musik besar karena didukung oleh tiga komponen, yaitu penyelenggara produksi musik, distribusi produksi musik, dan kebutuhan masyarakat. -
Bali 1928: Gamelan Gong Kebyar Music from Belaluan, Pangkung
Bali 1928: Gamelan Gong Kebyar Music from Belaluan, Pangkung, Busungbiu 2 Introduction 6 A Sketch of the Time Period of these Recordings 11 Emergence of Kebyar 29 The Balinese Gamelan Recordings from Bali, 1928: a track–by–track discussion: 33 Gamelan Gong Kebyar of Belaluan, Denpasar 46 Gamelan Gong Kebyar of Pangkung, Tabanan 50 Gamelan Gong Kebyar of Busungbiu, Northwest Bali 57 List of Silent Archival Films 58 Acknowledgments 61 References Cited and Further Readings * Glossary on Separate PDF File1 1 The spellings in this article follow modernized Balinese orthography of dictionaries such as Kamus Bali Indonesia, by I Nengah Medera et.al. (1990). Although this system was proposed as early as 1972 it has been applied irregularly in writings on the arts, but we have chosen to adhere to it so as to reflect a closer relationship to actual Balinese aksara ‘letters of the alphabet, language’. For instance, many words with prefixes frequently spelled pe or peng are spelled here with the prefixes pa and pang. 1 Introduction These historic recordings were made in 1928 as part of a collection of the first and only commercially–released recordings of music made in Bali prior to World War II. This diverse sampling of new and older Balinese styles appeared on 78 rpm discs in 1929 with subsequent releases for international distribution. The records were sold worldwide (or not sold, as it happened) and quickly went out of print. It was a crucial time in the island’s musical history as Bali was in the midst of an artistic revolution with kebyar as the new dominant style of music. -
Listening for the Suling in the Balinese Gamelan
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Supervised Undergraduate Student Research Chancellor’s Honors Program Projects and Creative Work 5-2019 Listening for the Suling in the Balinese Gamelan Natalie Ann Gregg University of Tennessee, Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_chanhonoproj Part of the Ethnomusicology Commons, and the Musicology Commons Recommended Citation Gregg, Natalie Ann, "Listening for the Suling in the Balinese Gamelan" (2019). Chancellor’s Honors Program Projects. https://trace.tennessee.edu/utk_chanhonoproj/2245 This Dissertation/Thesis is brought to you for free and open access by the Supervised Undergraduate Student Research and Creative Work at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Chancellor’s Honors Program Projects by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. Listening for the Suling in the Balinese Gamelan Natalie Gregg [email protected] University of Tennessee, Knoxville Gregg 1 Deeply rooted in religion and tradition, Balinese music is a unique art form that contains rich musical variety. Popular in Bali, Indonesia, because of its key role in religious ceremonies and tourism, gamelan music developed into one of the most prominent art forms on the island. While an abundance of research exists concerning many aspects of music in Bali, notably on musical genres, types of instruments and their use, and performance settings, little research has been done concerning the suling, the Balinese flute, and its role in Balinese music. Due to an exceptional lack of information in the subject area, this important member of many Balinese gamelan ensembles is often left unnoticed in research. -
Profil Penerima
Kementerian Pendidikan dan Kebudayaan Republik Indonesia Profil Penerima ANUGERAH KEBUDAYAAN DAN PENGHARGAAN MAESTRO SENI TRADISI 2 17 Direktorat Warisan dan Diplomasi Budaya Direktorat Jenderal Kebudayaan Kementerian Pendidikan dan Kebudayaan 2017 Profil Penerima ANUGERAH KEBUDAYAAN DAN PENGHARGAAN MAESTRO SENI TRADISI 2017 Direktorat Warisan dan Diplomasi Budaya Direktorat Jenderal Kebudayaan Kementerian Pendidikan dan Kebudayaan 2017 Untuk kalangan sendiri Tidak untuk diperjualbelikan i TIM PENYUSUN PROFIL PENERIMA PENGHARGAAN KEBUDAYAAN TAHUN 2017 Pengarah: Nadjamuddin Ramly Penanggung Jawab: Yayuk Sri Budi Rahayu Penulis: Binsar Simanullang Dewi Nova Wahyuni Retno Raswati Willy Hangguman Mohamad Atqa Aan Rukmana Desy Wulandari Frans Ekodhanto Purba Dita Darfianti Yusuf Susilo Rini Suryati Hilmi Setiawan Dian Warastuti Kameramen: Saiful Mujab Simbul Sagala Moch. Saleh M. Rully Agus Purna Irawan Fotografer: Dede Semiawan Rachmat Gunawan Yoki Rendra P. Editor: Kenedi Nurhan Sekretariat dan Pengolah Data : Richard Antoni Rizky Ernandi Jatmiko Hari Wibowo Haris Dwijayanto Liza Ariesta Yohanes Redi Luciano Layout & Desain Cover: Tasman ii KATA PENGANTAR Kalaulah bukan karena tinta Takkan kugubah sebuah puisi Kalaulah bukan karena cinta Takkan bersua pada Anugerah Kebudayaan ini Assalamu’alaikum Warahmatullahi Wabarakatuh Saat ini pengaruh globalisasi dan media informasi sangat dahsyat menerpa kehidupan kita. tanpa proses penyaringan tanpa peresapan yang matang akan berakibat pada perubahan sikap dan perilaku yang mempengaruhi karakter dan budaya bangsa. Bertolak dari situasi ini, Direktorat Jenderal Kebudayaan, Cq Direktorat Warisan Dan Diplomasi Budaya, telah memfokuskan program-program kegiatannya pada arah penguatan karakter bangsa, dengan melakukan penanaman dan persemaian atau internalisasi nilai–nilai budaya. Penganugerahan kebudayaan yang kita lakukan setiap tahun adalah salah satu bentuk penguatan karakter bangsa, dengan melakukan penanaman dan persemaian atau internalisasi nilai – nilai budaya. -
• to Develop Tools for Listening. • to Understand the Basic Elements Of
• To develop tools for listening. • To understand the basic elements of music. • To develop a vocabulary of musical understanding. • To explore the relationships between musical sound and musical meaning. CHAPTER TWO Listening to Music QUESTIONS FOR THOUGHT • How does music communicate meaning? • How might a composer maintain • How might a composer portray coherence in a long piece? heartbreak? Joy? Fear? Surprise? Engaged Listening Music is culture-specific. It is found in every human society. Like language, each music culture has "Music is the art its own particularized grammar and syntax. Sounds that are important in one context may not be of thinking with meaningful in another. Or, they may signify something quite different. sounds." As children, we learned to make sense of the music around us, just as we did with our first spoken -Jules language. But to understand music's subtleties we have to actively train, or "tune," our minds to Combarieu respond to the proper stimuli. This process is complex, but relatively easy to understand. (1859-1916) The ear itself takes in the enormous range of information from the soundscapes in which we live. But as the mind becomes engaged, we discover that not all sounds are equally important. As infants, we learn to listen: to identify (and make use of) relevant sounds and disregard others. This is how we learn to speak. It is also how we come to understand music. Everyday experience offers us important listening opportunities. Consider all the elements involved when following a single conversation in a crowded and noisy room. You will: • pinpoint the speaker's location and focus your attention in that specific direction • single out the unique quality of the speaker's voice and tune out the others • use context to fill in words you may have missed • follow the speaker's lips, facial expression, or gestures for additional information.