DOCSLIB.ORG

Pengembangan Aplikasi Game Simulasi Virtual Tingklik Dan Suling Bali Berbasis Android

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Pengembangan Aplikasi Game Simulasi Virtual Tingklik Dan Suling Bali Berbasis Android ISSN 2252-9063 Kumpulan Artikel Mahasiswa Pendidikan Teknik Informatika (KARMAPATI) Volume 2, Nomor 6, Agustus 2013 PENGEMBANGAN APLIKASI GAME SIMULASI VIRTUAL TINGKLIK DAN SULING BALI BERBASIS ANDROID I Nyoman Agus Permadi 1, I Gede Mahendra Darmawiguna 2, I Made Gede Sunarya 3 Jurusan Pendidikan Teknik Informatika Universitas Pendidikan Ganesha Singaraja, Bali E-mail: [email protected] 1, [email protected] 2, [email protected] 3 Abstrak —Tingklik adalah alat musik rubber on it's tip), Tingklik made of bamboo and tradisional Bali dan dimainkan dengan cara di generally played by farmers in their fields. Flute pukul dengan panggul. Panggul adalah bambu/kayu is a traditional Balinese musical instrument that yang diujungnya terdapat karet berbentuk often played together with Tingklik. Flute imade lingkaran, tingklik terbuat dari bambu dan of bamboo and played by blowing. As modern umumnya di mainkan oleh para petani di sawah mereka. Suling adalah alat musik tradisional Bali musical instruments are getting more popular, yang sering dimainkan bersamaan dengan tingklik, Tingklik and Suling are being forgotten.s suling terbuat dari bambu dan dimainkan dengan This study aims to (1) design an android-base cara ditiup. Seiring berjalannya waktu kedua alat Tingklik and Suling simulation game, (2) musik tradisional itu makin dilupakan karena implement the design of android-base Tingklik tergeser oleh adanya alat musik modern. and Suling simulation game. This simulation Penelitian ini bertujuan untuk (1) merancang game developed for android smartphone by using aplikasi game simulasi tingklik dan suling Bali the Waterfall method and implemented in the berbasis android; (2) mengimplementasikan Java programming language using Eclipse rancangan aplikasi game simulasi tingklik dan suling Bali berbasis android. Aplikasi game ini Indigo editor. dikembangkan di mobile phone android dengan This game application comprises of two menggunkan metode Waterfall dan games, Tingklik and Suling. The expectation in diimplementasikan dalam bahasa pemrograman developing this simulation game is to stimulate Java dengan menggunakan editor Eclipse Indigo . people's interest, especially smartphone users, in Pada aplikasi ini terdapat dua permainan, yaitu Tingklik and Suling musical instrument. tingklik dan suling. Dengan adanya aplikasi ini diharapkan para pengguna smartphone android akan tahu tentang alat musik tradisional tingklik Keywords— Tingklik, Suling, Android, Mobile dan suling Bali, sehingga dapat memicu minat Devices, Music Instrument, Bali terhadap alat musik tingklik dan suling Bali. I. PENDAHULUAN Kata kunci - Tingklik, Suling, Android, Mobile Indonesia memiliki keanekaragaman budaya Devices , Alat Musik, Bali. dan kesenian, dengan berbagai kebudayaan itu pula Indonesia mampu dikenal masyarakat Abstract — Tingklik is a traditional Balinese internasional. Dengan potensi budaya Indonesia musical instrument that played by striking with diharapkan mampu melestarikan serta two sticks (made of bamboo / wood with the mengembangkan nilai – nilai luhur dan beragam 896 ISSN 2252-9063 Kumpulan Artikel Mahasiswa Pendidikan Teknik Informatika (KARMAPATI) Volume 2, Nomor 6, Agustus 2013 sebagai ciri khas suatu bangsa. Keanekaragaman II. KAJIAN TEORI budaya dan kesenian Indonesia merupakan warisan budaya yang terus berkembang selama A. Android berabad-abad di masing-masing daerah yang Android adalah sistem operasi berbasis Linux terbentang luas dari Sabang sampai Merauke. yang dipergunakan sebagai pengelola sumber daya Pada era globalisasi seperti sekarang ini, para perangkat keras, baik untuk ponsel, smartphone remaja saat ini cenderung menyukai sampai dan juga PC tablet. Secara umum Android adalah meniru kebudayaan luar. Adanya fasilitas seperti platform yang terbuka ( Open Source ) bagi para internet, televisi, radio, majalah yang banyak pengembang untuk menciptakan aplikasi mereka menampilkan kebudayaan asing, membuat para sendiri untuk digunakan oleh berbagai piranti remaja tidak dapat membendung rasa bergerak [2]. keingintahuan mereka untuk mencoba dan meniru Nama Android muncul pertama kali oleh kebudayaan asing tersebut. Sehingga kebudayaan seorang penulis asal Perancis yang bernama lokal menjadi kurang mereka sukai, dan mereka Mathias Viliers de L'Isle-Adam (1838 - 1898) cenderung menganggap kebudayaan lokal sebagai dalam bukunya yang berjudul Tomorrow's Eve . kebudayaan kuno atau ketinggalan jaman, Pada buku tersebut mengisahkan tentang sosok sedangkan kebudayaan asing mereka anggap robot artifisial dengan bentuk layaknya manusia sebagai kebudayaan yang modern dan maju [1]. biasa yang diberi nama Hadaly . Kemudian pada Bali adalah pulau wisata di Indonesia yang tahun berikutnya sosok Android mulai sudah sangat terkenal di dunia dengan beragam diperkenalkan pada film Star Wars, yakni robot C- seni dan budayanya, baik itu seni tari yang 3PO . Film seri Star Trek pun kemudian memiliki beragam jenis tarian, seni musik menggunakan sosok Android sebagai salah satu tradisional Bali yang menggunakan tabuh tokoh yang berupa data, kemudian nama Android gambelan, kebudayaan berpakaian masyarakat mulai makin dikenal sebagai sosok robot / data bali, struktur rumah adat Bali yang khas, dan canggih dan pintar. masih banyak lagi kebudayaan yang ada di Bali. Android pada smartphone ini adalah Tingklik dan Suling adalah dua dari banyak alat Android memberikan platform terbuka bagi para musik tradisional terbuat dari bambu yang sangat pengembang untuk menciptakan aplikasi mereka diminati oleh masyarakat mancanegara. sendiri untuk digunakan oleh bermacam peranti Salah satu teknologi sistem operasi bergerak ataupun untuk telepon seluler. terpopuler saat ini adalah Android . Sistem operasi Keunggulan tersebut yaitu dengan cara memakai Android ini dikembangkan oleh Google dimana basis kode komputer yang kemudian dapat sistem operasi ini berbasis Linux. Android didistribusikan secara terbuka ( open source ) menyediakan platform terbuka bagi para sehingga pengguna dapat menciptakan atau pengembang untuk menciptakan aplikasi mereka menggunakan aplikasi baru di dalamnya [2]. sendiri untuk digunakan oleh bermacam peranti baik smartphone ataupun tablet. Dilansir dari B. Eclipse OKEzone, Rabu (24/10/2012), pada kuartal ketiga Eclipse awalnya dikembangkan oleh IBM 2012, satu dari tujuh orang memiliki smartphone, untuk menggantikan perangkat lunak dengan begitu total smartphone yang beredar pengembangan IBM Visual Age for Java 4.0 . mencapai 1,038 miliar unit. Produk Eclipse ini diluncurkan oleh IBM pada Dari data tersebut membuktikan bahwa tanggal 5 November 2001. IBM menginvestasikan perkembangan Android di Indonesia sangat pesat. US$ 40 juta untuk pengembangannya. Sejak 5 Berdasarkan uraian tersebut dan penelitian November 2001, konsorsium Eclipse Foundation sebelumnya tentang game Tingklik berbasis mengambil alih pengembangan Eclipse lebih desktop yang berjudul “Pengembangan Game lanjut. Simulasi Tingklik Virtual Music ”, maka penulis Eclipse adalah sebuah IDE ( Integrated merasa tertarik untuk mencoba mengembangkan Development Environment ) untuk Aplikasi Game simulasi Tingklik dan Suling Bali mengembangkan perangkat lunak dan dapat berbasis Android untuk melestarikan dan dijalankan di semua platform ( platform- mempublikasikan alat musik traditional Tingklik independent ). Eclipse pada saat ini merupakan dan Suling Bali kepada khalayak umum. salah satu IDE favorit dikarenakan gratis dan open source , yang berarti setiap orang boleh melihat kode pemrograman perangkat lunak ini. Selain itu, 897 ISSN 2252-9063 Kumpulan Artikel Mahasiswa Pendidikan Teknik Informatika (KARMAPATI) Volume 2, Nomor 6, Agustus 2013 kelebihan dari Eclipse yang membuatnya populer atau dikombinasikan dengan Gamelan , dan yang adalah kemampuannya untuk dapat dikembangkan paling sering digunakan untuk mengiringi Rindik, oleh pengguna dengan komponen yang dinamakan Joged Bumbung , angklung, arja dan gong kebyar . plug-in. Aplikasi Android ditulis dengan bahasa Suling adalah satu-satunya instrumen melodi Java, menggunakan Java Core Libraries. Aplikasi dalam jenis gamelan, pemain suling harus mampu Android dijalankan di atas DVM bernama Dalvik melakukan pernapasan siklik, jika tidak ingin Virtual Machine . Eclipse hanya dibutuhkan melodi rusak. apabila kita ingin mengembangkan aplikasi Suling dimainkan dengan mengkombinasikan dengan bantuan sebuah plugin Eclipse yang tiupan udara dari mulut dan jari tangan. Dengan bernama Android Development Tools (ADT). menutup lubang-lubang, pemain bisa menghasilkan empat atau lima modus nada C. Game diambil dari skala tujuh nada dasar Game diambil dari bahasa inggris yang berarti (DO,RE,MI,FA,SO,LA,SI,DO). permainan. Pada perkembangan teknologi yang pesat ini banyak permainan dunia nyata yang III. METODOLOGI dibawa ke dunia virtual atau bisa dimainkan di A. Analisis Masalah dan Solusi dalam alat elektronik. Dampak dari perkembangan teknologi tersebut saat ini muncul berbagai alat Pada era globalisasi seperti sekarang ini, para elektronik yang digunakan kusus untuk bermain remaja saat ini cenderung menyukai sampai game , misalnya Playstation, Xbox , Nintendo, meniru kebudayaan luar. Adanya fasilitas seperti PSP, PC, bahkan HP (HandPhone) yang berbasis internet, televisi, radio, majalah yang banyak individu atau multiplayer. menampilkan kebudayaan asing, membuat para remaja tidak dapat membendung rasa D. Tingklik keingintahuan mereka untuk mencoba dan meniru Tingklik adalah salah satu alat musik kebudayaan asing tersebut. Sehingga kebudayaan tradisional
Load more

Recommended publications
  • Fenomena Dan Dampak Arus Globalisasi Terhadap Perkembangan Kesenian Joged Bumbung
    Fenomena dan Dampak Arus Globalisasi Terhadap Perkembangan Kesenian Joged Bumbung Oleh I Nyoman Mariyana Mahasiswa Pascasarjana (S2) ISI Denpasar Joged Bumbung Gamelan joged bumbung adalah sebuah barungan gamelan yang dipergunakan untuk mengiringi tarian joged bumbung, sebuah tari pergaulan yang ada di Bali. Dalam tarian ini, seorang penari wanita berhiaskan sejenis legong menjawat (memilih) seorang penonton untuk di ajak menari. Gamelan joged bumbung disebut juga gamelan grantangan, karena pokok- pokok instrumennya adalah grantang yaitu gender yang terbuat dari bambu, berbentuk bumbung dan memakai laras selendro lima nada. Larasnya serupa dengan gamelan gender wayang. Dalam buku Evolusi Tari Bali, gamelan joded bumbung disebutkan “bumbung” berarti tabung (bamboo), sebuah istilah untuk memberikan nama kepada seperangkat gamelan joged. Dalam hal ini ialah gamelan joged bumbung (proyek panggilan/pembinaan seni budaya klasik/tradisional dan baru). Bila dilihat dari instrumentasinya, gamelan Joged Bumbung terdiri dari berbagai instrumen diantaranya ; 1. Grantang, yang terdiri dari empat grantang gede dan dua grantang kecil, berfungsi sebagai pembawa melodi pokok, dimainkan dengan dua tangan mempunyai tekhnik pukulan sejenis gender wayang dengan memakai polos dan sangsih. 2. Gong Pulu dibuat dari besi atau kerawang. Bentuknya seperti jegogan di dalam gamelan gong, berbilah dua (nada yang sama ngumbang dan ngisep) berfungsi sebagai finalis didalam lagu-lagu joged bumbung, menggantikan gong gede di dalam gamelan gong. 3. Tawa-tawa, sebuah instrument pembawa matra. Bentuk kettle ( atau gong kecil ) 4. Klenang, sejenis kajar, berfungsi sebagai penombal kajar. 5. Kecek adalah ceng-ceng kecil yang berfungsi untuk memperkaya ritme didalam gamelan joged bumbung. 6. Kendang satu buah berfungsi untuk pemurba irama, pengatur tinggi rendah dan cepat lambatnya dari lagu-lagu joged bumbung.
    [Show full text]
  • 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 ...............................................................................................................
    [Show full text]
  • Downloaded from Brill.Com09/26/2021 01:14:48PM Via Free Access Wim Van Zanten - 9789004261778 Downloaded from Brill.Com09/26/2021 01:14:48PM Via Free Access
    PART FIVE THE ETHNIC MODERN Wim van Zanten - 9789004261778 Downloaded from Brill.com09/26/2021 01:14:48PM via free access Wim van Zanten - 9789004261778 Downloaded from Brill.com09/26/2021 01:14:48PM via free access <UN> <UN> CHAPTER ELEVEN MUSICAL ASPECTS OF POPULAR MUSIC AND POP SUNDA IN WEST JAVA Wim van Zanten Introduction: Sundanese Music and the Technology of Enchantment Research on popular music, particularly in the field of cultural studies, has tended to focus on political and sociological aspects, to the exclusion of musical structures and actual sounds. Whereas in most societies musi- cal genres are in the first place classified by social criteria, it is undeniable that also the technicalities of the music play a role: audiences hear the differences between, for instance, jaipongan and degung kawih perfor- mances. This is because these musics are produced in different ways, using different instruments, tone material, musical structure, etc. Alfred Gell made an important contribution to the anthropological study of art by pointing out that the production of art is a technological process. He mentions that there are ‘beautiful’ things, like beautiful women, beautiful horses and a beautiful sunset. However, art objects are made ‘beautiful’ by human beings and this requires technology. He criti- cizes sociologists like Pierre Bourdieu, who do not really look at an art object as a concrete product of human ingenuity, but only elaborately look at the represented symbolic meanings (Gell 1999:162). In contrast, Gell proposes that anthropologists should look at art as a ‘component of technology.’ We call something an object of art if it is the outcome of a technological process, the kind of processes in which artists are skilled.
    [Show full text]
  • Falidasi Data Lingkung Seni Se-Kecamatan Ujungberung Tahun 2014
    FALIDASI DATA LINGKUNG SENI SE-KECAMATAN UJUNGBERUNG TAHUN 2014 Tahun Tempat NO Nama Lingkung Seni Jenis Kesenian Pimpinan Alamat Perangkat Kesenian Anggota Legalisasi Berdiri Latihan 1 2 3 4 5 6 7 8 9 10 Pasar Kaler RT.01 1 Pas Nada Elektone Ibu. Heny Organ, Kibord,Gitar, Kendang, Suling, 5 Orang Tidak Ada 2010 Rumah RW.01 Cigending RT.03 Gendang, Bedug, Goong, Terompet, Toa Ampli. 2 Sancang Pusaka Benjang Agus Sulaeman RW.03 Mixer, Badut, Kecrek, Kuda Lumping, Gendang, Goong, Bedug, Terompet, Kepang, 3 LS Benjang Kalimasada Benjang Gugun Gunawan Cipicung RT.04 RW.04 25 Orang Dalam Proses 2004 Rumah Lumping, Toa, Ampli,MixerBadut 4 Karinding Nukula Upit Supriatna Cipicung RT.01 RW.04 Karinding,Celempung,Toleot, Kecrex 15 Orang Tidak Ada 2011 Rumah Gendang, bedug, Goong, Terompet, Toa Ampli, Rumah ketua 5 Pusaka Gelar Putra Benjang Asep Dede Cinangka RT.02 RW.05 25 Orang Tidak Ada 2007 Barong, Badut, Kecrek RT Rumah ketua 6 Pusaka Wirahman Putra Penca Silat Enay Darso Cinangka RT.01 RW.05 Gendang Besar/Kecil, Golok (untuk atraksi) 25 Orang Tidak Ada 2010 RT Gendang, Rabab, Bonang, Goong, Kecrek, 7 Arum Gumelar Jaipongan I n d r a Cinangka RT.02 RW.05 30 Orang Tidak Ada 2006 Rumah Terompet 8 R e o g E m u l Cinangka RT.03 RW.05 Dog-dog, Goong, Gendang 9 Elektone Dangdut E m u l Cinangka RT.03 RW.05 Organ, Gendang Suling Gitar, Kecrex 7 Orang Tidak Ada 2010 Rumah Sakeburuy RT.01 RW 10 Dwi Shinta Rock Dangdut Dede Dadan Kibord, Gitar, Gendang, Suling, Kecrex 9 Orang Ada 1993 Gedung 06 Gendang, Goong, Bedug, Terompet, Toa, Ampli, 11 Pusaka Wargi Benjang Didi / Ono Ranca RT.01 RW.06 25 Orang Ada 1930 Hal.
    [Show full text]
  • 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”.
    [Show full text]
  • The Classroom Gamelan
    PROGRAM DEVELOPMENT The classroom gamelan by Deirdre Dean The inclusion of Indonesian music and language into the The Indonesian cultures best known in Australia are those of mainstream of Australian education is becoming increasingly Bali and Java, perhaps best known for the gamelan, or noticable. The difficulty many teachers find with including orchestra, the wayang kulit, shadow puppet plays, and the Indonesian music into their classroom programs is twofold. kecak (pronounced ke-chuck), monkey dance from Bali. Firstly, a lack of familiarity with the subject means that many teachers lack the confidence to teach the subject to their Javanese music traditions tend to lean more towards the court students. Secondly, many teachers are unaware of the variety traditions of the Middle Ages, fostered in the courts of the and types of resources available to them and, as a result, are sultans at Jogjakarta and Solo (Surakarta). Villages may even unable to create their own individual programs. have their own gamelan, and some villages have their own dalang, a resident dancer, singer and puppeteer who teaches The focus of this article is to provide teachers with a basic music and dance to the children of the village. format that has been used in secondary schools (but is easily adapted to primary situations) for over six years. The subject In Hindu Bali there was also a court tradition, but these were is based on Indonesian music, but has been adapted for fostered by radjas. A stately style of music, known as gamelan Australian students, and is thus more accessible for them. The gong, was common prior to the turn of the century, but list of resources at the end of the notes, particularly the disappeared soon after 1906 following the massacre of the bibliography, is not meant to be a definitive guide.
    [Show full text]
  • 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.
    [Show full text]
  • The Angklung of Southeast Asia
    Can You Shake It? The Angklung of Southeast Asia By Professor Kuo-Huang Han School of Music Northern Illinois University Angklung is a popular bamboo musical instrument in Southeast Asia. It is the easiest instrument to play: you just shake it. It is now widely used in music education. In this article, you will be informed about the background, usage, and playing methods of this instrument. A. Bamboo in Asia Bamboo is a type of plant of the grass family. There are about 75 genera and approximately 1000 species in the world. Asia, especially Southeast Asia and the Far East, has the major concentration of bamboo production. In fact, the word "bamboo" came from a Malay term, "bambu", which originally described the crackling sound of burning bamboo: "bam"! "bu"! Bamboo seems to grow everywhere in these regions. It is one of the most important materials in many Asian peoples’ daily lives. It is also a symbol of good luck and an essential part in their spiritual lives. 1. Material Culture Bamboo is strong but light and elastic. Throughout the ages, it has been used for a great variety of purposes. It is used as building material for houses, fences, bridges, irrigation pipes, bulletin boards, tables, chairs, and beds. It is also used as a carrying pole, a walking stick, chopsticks, water containers, cups, pencil holders, bow and arrows, etc. Split bamboo is used for weaving nets, hats, baskets, and umbrellas. Finally, bamboo shoots and bamboo seeds can be eaten. Bamboo pulp fibers were used to make paper. In ancient times, bamboo slips were used for carving characters.
    [Show full text]
  • (Lyrcd 7179) Gamelan Music of Bali Gamelan Angklung And
    (LYRCD 7179) GAMELAN MUSIC OF BALI GAMELAN ANGKLUNG AND GAMELAN GONG KEBYAR RECORDINGS AND REVISED NOTES BY RUBY ORNSTEIN © 2011 Ruby Ornstein TRACKS 1. Topeng Tua – perforMed by GaMelan Angklung, Mas – 3:14 2. Kebyar Teruna – perforMed by Gunung Sari, Peliatan – 13:49 3. 3. Tabuhan Joged – perforMed by GaMelan Angklung, Jineng DalaM Selatan – 7:37 4. Segara Madu – perforMed by GaMelan Angklung, Sayan – 3:12 5. Lagu No. 2 – perforMed by GaMelan Angklung, Jineng DalaM Selatan – 6:27 6. GaMbang Suling – perforMed by GaMelan Gong Kebyar, Kedis Kaja – 8:58 7. Hujan Mas – perforMed by Gunung Sari, Peliatan – 6:35 NOTES Bali, one of the several thousand islands forMing the Republic of Indonesia, has long been faMous for its gaMelan Music. A tiny Hindu Minority in a predoMinantly MosleM land, the Balinese enjoy a way of life filled with an incredible nuMber of teMple celebrations and life‐cycle cereMonies, all of which require Music. In earlier tiMes when the Balinese rajas still Maintained splendid palaces, they supported large nuMbers of Musicians and dancers for gaMelan that belonged to their courts. Nowadays, with Most palaces reduced to a Mere shadow of their forMer Magnificence, their orchestras have been pawned or sold, and Musical activity is chiefly at the village level. GaMelan instruMents are owned by a village, a banjar (a sub‐section of a village), or by Musicians theMselves. In any case, the players forM a club to regulate their activities. And, if Money and leisure tiMe are less abundant than forMerly, and fewer gamelan clubs are active now than before 1940, there are still nearly 20 different kinds of gaMelan in Bali.
    [Show full text]
  • The Uses of Gong Suling in Ngemban Rare Composition
    Journal of Music Science, Technology, and Industry Vol. 2 No. 2 (2019): 185-198 E-ISSN 2622-8211 The Uses of Gong Suling in Ngemban Rare Composition Visvam Bhara Prasad1, I Komang Sudirga2, Hendra Santosa3 123Department of Seni Karawitan, Faculty of Performing Arts, Institut Seni Indonesia Denpasar email: [email protected] , [email protected], [email protected] ABSTRAK Komposisi Ngemban Rare yang menggunakan Gamelan Gong Suling ini menggambarkan kenangan masa kecil dengan berbagai sikap. Karya ini terinspirasi oleh seseorang yang merawat anak yang sedang menangis. Bahkan, saat ini sebagian besar orang tua mengajarkan hal-hal yang salah kepada anak-anak dengan memfasilitasi mereka sebelum mereka cukup dewasa sehingga membuat karakter anak menjadi tidak baik. Komposisi ini terdiri dari tiga bagian, yaitu menggambarkan suasana fenomena mengasuh anak-anak, mengasuh anak-anak dengan menyanyikan lagu-lagu anak-anak tradisional, mengajar anak-anak dan memperkenalkan budaya sejak usia dini, dan menanamkan disiplin dan karakter yang baik, agar tidak menyesal kemudian. Pembentukan ciptaan karya ini mengacu pada proses penciptaan karya seni yang diklarifikasi menjadi tiga tahap, yaitu tahap eksplorasi, tahap improvisasi, dan tahap pembentukan. Kata kunci: Ngemban Rare, gong suling, anak-anak, komposisi musik. ABSTRAK The composition of Ngemban Rare that uses Gong Suling Gamelan is about childhood memories with various attitude. This work is inspired by someone whom care for a crying child. In fact, nowadays most of the parents teach wrong things to children by facilitating them before they are mature enough thus making the children character becomes unkind. This composition consists of three parts, namely describing the atmosphere of the phenomenon of caring for young children, caring for children by singing traditional children’s songs, teaching children and introducing culture from an early age, and instilling good discipline and character, so as not to regret later.
    [Show full text]
  • The Javanese Gamelan Kyai Madu Laras (Venerable Sweet Harmony)
    THE JAVANESE GAMELAN KYAI MADU LARAS (VENERABLE SWEET HARMONY) A gift to the Faculty of Music from The Minister of Forestry of The Republic of Indonesia H.E.SUDJARWO JEREMY MONTAGU THE BATE COLLECTION OF HISTORICAL INSTRUMENTS UNIVERSITY OF OXFORD FACULTY OF MUSIC St.Aldate’s, Oxford £ 1.00 Sixth Edition Jeremy Montagu Among the earliest evidence for the Javanese Gamelan are a few instruments found archæologically and carvings on the eighth century AD Temple of Boro- bodur, which include bonangs1, sarons and gongs. Some instruments, including the rebab and the tarompet (a shawm which is displayed in the Shawm Case), were introduced with Islam in about the 14th century, and by the 15th century gamelans existed much as they do today. An increase in the number of instru- ments has continued, and the inclusion of a full set of kenongs and kempuls is comparatively recent. There are many varieties of gamelan in Indonesia today, consisting of different types and combinations of instruments, some with instruments made of bamboo, some with instruments of bronze, others with those of iron, and some with large numbers of instruments, and some with only a few. The Gamelan Kyai Madu Laras is the classic type of Central Javanese gamelan and is a full double gamelan of high-quality bronze instruments. It came to us from Klaten, a small town halfway between the two great centres of Central Javanese gamelan, Surakarta (or Solo) and Yogyakarta (or Jogya), as a most generous gift from the Minister of Forestry of the Republic of Indonesia, His Excellency Sudjarwo.
    [Show full text]
  • 59. Gong Kebyar De Sebatu (Bali) Baris Melampahan
    59. Gong Kebyar de Sebatu (Bali) Baris Melampahan (For Unit 6: Further Musical Understanding) Background information and performance circumstances Gamelan Music is deeply embedded in Indonesian (or Javanese) culture. Evidence of the existence of ensembles dates to the eighth-century BCE but it is believed that the Gamelan may have been in use 500 years earlier. In Javanese mythology, a god, Sang Hyang Guru, used a gong to summon other gods and, for more complex messages, he added extra gongs, thereby inventing the Gamelan. There are now three main types of Gamelan music: Javanese, Balinese and Sundanese; it is Balinese Gamelan (from the Indonesian island of Bali) of which Baris Melampahan is an example. Although Gamelan music on Bali is now regularly performed for tourists, it is vital to remember that the principal and original performing circumstances of the music were for ritual and ceremonial purposes. It is also worth noting that Gamelan belongs to the oral (or perhaps more appropriately ‘aural’) tradition of folk music – notation is a tool for analysing the music but the musicians themselves learn by ear and are taught by an instructor (called a sekaha). The term ‘Baris’ means a line or military formation and, in this context, refers to a traditional male war dance of which there are a great many types. The differing titles usually refer to the weapons used in the dance: for example, Baris Bedil uses rifles and Baris Bajra uses clubs. Baris Melampahan, which developed in the early twentieth-century, is an elaborate exception to the norm of Balinese Baris dances.
    [Show full text]