DOCSLIB.ORG

Analisis Struktur Komposisi Dan Fungsi Musik Bregada Dhaeng Di Keraton Kasultanan Yogyakarta

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Analisis Struktur Komposisi Dan Fungsi Musik Bregada Dhaeng Di Keraton Kasultanan Yogyakarta ANALISIS STRUKTUR KOMPOSISI DAN FUNGSI MUSIK BREGADA DHAENG DI KERATON KASULTANAN YOGYAKARTA SKRIPSI Diajukan kepada Fakultas Bahasa dan Seni Universitas Negeri Yogyakarta untuk Memenuhi Sebagian Persyaratan guna Memperoleh Gelar Sarjana Pendidikan Oleh: DANANG ARI NUGRAHA 08208241019 JURUSAN PENDIDIKAN SENI MUSIK FAKULTAS BAHASA DAN SENI UNIVERSITAS NEGERI YOGYAKARTA 2013 MOTTO “ TIDAK ADA YANG TIDAK MUNGKIN “ PERSEMBAHAN Skripsi ini dipersembahkan untuk : Bapak Sutriyo ( Ayahnda ) Ibu Utik Lestari ( Ibunda ) Pakdhe Supradi Budhe Rahayu Alm. Eyang Marmo Wiyadi Alm. Eyang Samiyem v DAFTAR ISI Halaman HALAMAN JUDUL ................................................................................................ i HALAMAN PERSETUJUAN ................................................................................. ii HALAMAN PENGESAHAN .................................................................................. iii HALAMAN PERNYATAAN ................................................................................. iv HALAMAN MOTTO DAN PERSEMBAHAN ...................................................... v KATA PENGANTAR .............................................................................................. vi DAFTAR ISI ............................................................................................................ vii DAFTAR GAMBAR ............................................................................................... ix DAFTAR TABEL ................................................................................................... xi DAFTAR LAMPIRAN ........................................................................................... xii ABSTRAK .............................................................................................................. xiii BAB I PENDAHULUAN ....................................................................................... 1 A. Latar Belakang Masalah .............................................................................. 1 B. Identifikasi Masalah ..................................................................................... 6 C. Fokus Masalah ............................................................................................. 7 D. Tujuan Penelitian ......................................................................................... 7 E. Manfaat Penelitian ....................................................................................... 7 BAB II KAJIAN PUSTAKA ................................................................................. 9 A. Musik Bregada Dhaeng sebagai Genre Seni Tradisi ................................. 9 1. Hakikat Seni Tradisi ............................................................................. 9 2. Genre Musik Tradisi ............................................................................ 12 3. Fungsi Musik Tradisi ........................................................................... 18 B. Musik Bregada Dhaeng sebagai Sebuah Struktur ...................................... 21 1. Hakikat Komposisi Musikal ................................................................. 21 vii 2. Struktur Komposisi Musik .................................................................... 23 C. Penelitian yang Relevan ............................................................................... 36 D. Pertanyaan Penelitian ................................................................................... 37 BAB III METODE PENELITIAN ........................................................................... 38 A. Desain Penelitian ........................................................................................... 38 B. Setting Penelitian ........................................................................................... 39 C. Data Penelitian ............................................................................................... 40 D. Instrumen Penelitian ...................................................................................... 41 E. Teknik Pengumpulan Data ............................................................................ 42 1. Teknik Observasi ................................................................................... 42 2. Teknik Wawancara ................................................................................. 43 3. Teknik Dokumentasi ............................................................................... 45 F. Analisis Data .................................................................................................. 46 G. Triangulasi ...................................................................................................... 49 BAB IV STRUKTUR KOMPOSISI DAN FUNGSI MUSIK BREGADA DHAENG DI KERATON KASULTANAN YOGYAKARTA .................................... 51 A. Bregada Dhaeng ........................................................................................... 51 B. Analisis Struktur Komposisi Musik Bregada Dhaeng ................................. 64 C. Perpaduan Budaya Jawa, Makassar dan Eropa dalam Musik yang Dimainkan oleh Bregada Dhaeng ....................................................... 78 D. Fungsi Musik Bregada Dhaeng .................................................................. 84 BAB V PENUTUP .................................................................................................... 93 A. Kesimpulan ................................................................................................. 93 B. Keterbatasan Penelitian ............................................................................... 95 C. Saran ............................................................................................................ 96 DAFTAR PUSTAKA .............................................................................................. 98 DISKOGRAFI ......................................................................................................... 100 NARASUMBER ...................................................................................................... 101 LAMPIRAN .............................................................................................................. 103 viii DAFTAR GAMBAR Halaman Gambar I : Contoh repetisi ................................................................................ 25 Gambar II : Contoh sequence by rhythm ............................................................. 26 Gambar III : Contoh sekuens murni ...................................................................... 26 Gambar IV : Contoh pembesaran interval ............................................................. 27 Gambar V : Contoh pemerkecilan interval .......................................................... 27 Gambar VI : Contoh pembalikan (inversion) ........................................................ 28 Gambar VII : Contoh pembesaran nilai nada .......................................................... 28 Gambar VIII : Contoh pemerkecilan nilai nada ....................................................... 28 Gambar IX : Contoh retrogresi .............................................................................. 29 Gambar X : Interval .............................................................................................. 30 Gambar XI : Pakaian bregada ungel-ungelan Bregada Dhaeng .......................... 53 Gambar XII : Klebet Bahning Sari .......................................................................... 53 Gambar XIII : Dwaja Kanjeng Kyai Jatimulyo ........................................................ 53 Gambar XIV : Contoh partitur pola ritme tambur ................................................... 54 Gambar XV : Contoh partitur pola permainan tambur ........................................... 55 Gambar XVI : Tambur ............................................................................................. 56 Gambar XVII : Pemain tambur ................................................................................. 56 Gambar XVIII: Contoh partitur melodi suling .......................................................... 57 Gambar XIX : Pemain suling ................................................................................... 57 Gambar XX : Contoh partitur pola permainan bendhe ........................................... 58 Gambar XXI : Bendhe .............................................................................................. 59 Gambar XXII : Pemain bendhe ................................................................................. 59 Gambar XXIII: Contoh partitur pola ritme dhodhog dan ketipung .......................... 60 Gambar XXIV: Dhodhog dan ketipung .................................................................... 60 Gambar XXV : Pemain ketipung .............................................................................. 60 ix Gambar XXVI : Contoh partitur pola melodi pui-pui .......................................... 61 Gambar XXVII : Pemain pui-pui ........................................................................... 62 Gambar XXVIII : Contoh partitur pola ritme kecer ................................................ 63 Gambar XXIX : Pemain kecer ............................................................................. 63 Gambar XXX : Partitur Gendhing Ondhal-Andhil ............................................. 67 Gambar XXXI : Analisis struktur lagu pokok Gendhing Ondhal-Andhil .......... 70 Gambar XXXII : Partitur Gendhing Kenobo .......................................................
Load more

Recommended publications
  • International Choral Bulletin Is the Official Journal of the IFCM
    2011-2 ICB_ICB New 5/04/11 17:49 Page1 ISSN 0896 – 0968 Volume XXX, Number 2 – 2nd Quarter, 2011 ICB International CIhoCral BulBletin First IFCM International Choral Composition Competition A Great Success! Results and Interview Inside Dossier Choral Music in Malaysia, Indonesia, Singapore and Macau 2011-2 ICB_ICB New 5/04/11 17:49 Page2 International Federation for Choral Music The International Choral Bulletin is the official journal of the IFCM. It is issued to members four times a year. Managing Editor Banners Dr Andrea Angelini by Dolf Rabus on pages 22, 66 & 68 Via Pascoli 23/g 47900 Rimini, Italy Template Design Tel: +39-347-2573878 - Fax: +39-2-700425984 Marty Maxwell E-mail: [email protected] Skype: theconductor Printed by Imprimerie Paul Daxhelet, B 4280 Avin, Belgium Editor Emerita Jutta Tagger The views expressed by the authors are not necessarily those of IFCM. Editorial Team Michael J. Anderson, Philip Brunelle, Submitting Material Theodora Pavlovitch, Fred Sjöberg, Leon Shiu-wai Tong "When submitting documents to be considered for publication, please provide articles by CD or Email. Regular Collaborators The following electronic file formats are accepted: Text, Mag. Graham Lack – Consultant Editor RTF or Microsoft Word (version 97 or higher). ([email protected] ) Images must be in GIF, EPS, TIFF or JPEG format and be at Dr. Marian E. Dolan - Repertoire least 350dpi. Articles may be submitted in one or more of ([email protected] ) these languages: English, French, German, Spanish." Dr. Cristian Grases - World of Children’s and Youth Choirs ( [email protected] ) Reprints Nadine Robin - Advertisement & Events Articles may be reproduced for non-commercial purposes ([email protected] ) once permission has been granted by the managing Dr.
    [Show full text]
  • Using Popular Music Industry in Banyuwangi
    USING POPULAR MUSIC INDUSTRY IN BANYUWANGI Setya Yuwana1, Trisakti2 and Anik Juwariyah3 Cultural Arts Education Study Program Lecturers (Magister Program), Universitas Negeri Surabaya, Indonesia ABSTRACT This paper focuses on: 1) the social movement of ethnic popular music industry in Banyuwangi; 2)the motivating and obstacle factors in Usingpopular music industry in Banyuwangi; and 3) the empowerment model of artists (songwriters, music arrangers, singers and homeband players) in music industry.This research applied social movement, actor network, society empowerment and popular culture industry theories,and using the ethnographic approach. The research data are: 1) the history aspects of Using popular music industry development in Banyuwangi; 2) some real efforts which done by the art music community in Using popular music industry in Banyuwangi; 3) the music industry products in Banyuwangi; 4) royalty arrangement by music producers to the artists. This research’s results are: 1) the artists’ bargaining position can be raised if they are aware of having Intellectual Property Rights certificates in the form of copyrights; 2) the increasing of artists’ welfare can be realized by written employment contract with music producers based on the law; 3) alternative model of a fair unit price of song arrangement based on musical experience database, music producers financial ability and VCD or CD sales on the market. Keywords: music industry, social movement, empowerment model and creative economy. ABSTRAK Tujuan penelitian ini, yakni: 1) mendeskripsikan gerakan sosial industri musik-pupuler etnik di Banyuwangi; 2) mendeskripsikan faktor pendorong dan penghambat gerakan sosial industri musik- populer etnik di Banyuwangi; dan 3) membangun model pemberdayaan ekonomi kreatif seniman (pencipta lagu, pengaransemen, dan penyanyi) dalam industri musik-populer etnik di Banyuwangi.
    [Show full text]
  • Eksistensi Grup Musik Campursari Gondo Arum Di
    JURNAL SENI MUSIK 8 (1) (2019) JURNAL SENI MUSIK http://journal.unnes.ac.id/sju/index.php/jsm EKSISTENSI GRUP MUSIK CAMPURSARI GONDO ARUM DI DESA BONDO KABUPATEN JEPARA Jalu Sigit Aji Wiyono , Sunarto Jurusan Pendidikan Sendratasik, Fakultas Bahasa dan Seni, Universitas Negeri Semarang, Indonesia Info Artikel Abstrak ________________ Penelitian ini bertujuan untuk mengetahui dan mendiskripsikan Eksistensi dan faktor yang Sejarah Artikel: mempengaruhi grup musik Campursari Gondo Arum di desa Bondo kabupaten Jepara. Penelitian ini Diterima Oktober 2018 dilakukan menggunakan metode kualitatif dengan pendekatan sosiologi. Pengumpulan data dilakukan Disetujui Maret 2019 dengan teknik observasi partisipasif, wawancara terstruktur dan semiterstruktur, serta dokumentasi. Dipublikasikan Juni 2019 Analisis data dilakukan melalui tahapan pengumpulan data, reduksi data, penyajian data, dan penarikan kesimpulan. Hasil penelitian menunjukkan bahwa eksistensi grup musik Campursari Gondo Arum ________________ sudah cukup baik. Hal ini terbukti adanya: (1) tanggapan dari masyarakat an mendapatkan bantuan Kata Kunci sarana prasarana dari pemerintah; (2) memanfaatkan teknologi dengan menambahkan sampling- Campursari, sampling pada keyboard; (3) satu anggota grup ini memiliki gelar sarjana di bidang seni dan anggota Eksistensi. lainnya bertamatkan sekolah menengah atas. Adapun faktor-faktor yang mempengaruhi eksistensi grup ini seperti; (1) manajemen dan pemasaran yang baik melalui media sosial; (2) performing music, yaitu Keyword grup ini memiliki ciri khas; (3) performing art, yaitu grup ini memiliki formasi dan konsep dalam Campursari, pertunjukkannya. Exestence Abstract ______________________ This study aims to find out and describe the existence and factors that influence Campursari Gondo Arum music group in Bondo village, Jepara regency. This research was carried out by using a qualitative method with a sociological approach.
    [Show full text]
  • Adapting and Applying Central Javanese Gamelan Music Theory in Electroacoustic Composition and Performance
    Adapting and Applying Central Javanese Gamelan Music Theory in Electroacoustic Composition and Performance Part II of II: Appendices Thesis submitted in partial fulfilment of requirements for the degree of Ph. D. Charles Michael Matthews School of Arts Middlesex University May 2014 Table of contents – part II Table of figures ....................................................................................................................... 121 Table of tables ......................................................................................................................... 124 Appendix 1: Composition process and framework development ..................... 125 1.1 Framework .............................................................................................................................. 126 1.2 Aesthetic development ........................................................................................................ 127 1.3 Idiomatic reference .............................................................................................................. 128 1.3.1 Electroacoustic music references .......................................................................................... 129 1.3.2 Musical time .................................................................................................................................... 130 1.3.3 Electronic cengkok and envelopes ........................................................................................ 132 1.4 Instruments and interfaces ..............................................................................................
    [Show full text]
  • Kajian Seni Vol 2 No 1 Rev.Indd
    Jurnal Kajian Seni, Vol. 02, No. 01, November 2015: 78-94 VOLUME 02, No. 01, November 2015: 78-94 KAJIAN TEKSTUAL THE DRUPADI TRILOGY KARYA ANANDA SUKARLAN Nirai Nathalia Deasy Kristiana Pengkajian Seni Pertunjukan dan Seni Rupa Sekolah Pascasarjana, Universitas Gadjah Mada [email protected] Abstract The Drupadi Trilogy is Ananda Sukarlan’s music composition based on the story about Drupadi from Mahabharata. Aside from using the narrative literature, Sukarlan also used the music elements from Balinese gamelan in his art music composition. Therefore, by using the theory of Tripartition (Jean-Jacques Nattiez) and the theory of music interrelation (Philip V. Bohlman), The Drupadi Trilogy was analyzed textually to explain the occurrence of elements of Balinese gamelan music in the composition, the connection and correlation between the composition with other elements, and the purpose behind their connection and correlation. Keywords: The Drupadi Trilogy, Ananda Sukarlan, textual analyzes, Bali gamelan, art music Abstrak The Drupadi Trilogy adalah komposisi musik karya Ananda Sukarlan yang diambil dari kisah Drupadi dari Mahabharata. Selain menggunakan sumber naratif yang berasal dari karya sastra, Ananda juga menggunakan elemen-elemen musik tradisional yaitu gamelan Bali, dan mengolahnya dengan menggunakan teknik komposisi musik seni Barat. Kajian tekstual mengenai karya tersebut didasarkan pada teori Tripartisi oleh Jean-Jacques Nattiez dan teori interrelasi musik oleh Philip V. Bohlman, untuk mengetahui adaptasi bentuk musik tradisi di dalamnya, penggambaran koneksi dan korelasi antara karya tersebut dengan karya lain yang mempengaruhinya, dan tujuan yang melatarbelakangi koneksi dan korelasi tersebut. Kata kunci: The Drupadi Trilogy, Ananda Sukarlan, kajian tekstual, gamelan Bali, musik seni 78 Nirai Nathalia Deasy Kristiana, Kajian Tekstual The Drupadi Trilogy Karya Ananda Sukarlan PENGANTAR yang berjudul The 5 Lovers of Drupadi.
    [Show full text]
  • 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.
    [Show full text]
  • Keakuratan Metode K-Means Clustering Dalam Pengelompokan Lagu Daerah Berdasarkan Pulau Asal Di Indonesia
    PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI KEAKURATAN METODE K-MEANS CLUSTERING DALAM PENGELOMPOKAN LAGU DAERAH BERDASARKAN PULAU ASAL DI INDONESIA SKRIPSI Diajukan Untuk Memenuhi Salah Satu Syarat Memperoleh Gelar Sarjana Komputer Program Studi Teknik Informatika Oleh Theodorus Cahyo Adi Nugroho 105314109 PROGRAM STUDI JURUSAN TEKNIK INFORMATIKA JURUSAN TEKNIK INFORMATIKA FAKULTAS SAINS DAN TEKNOLOGI UNIVERSITAS SANATA DHARMA YOGYAKARTA 2015 i PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI THE ACCURACY OF K-MEANS CLUSTERING METHOD TO CLUSTERING FOLK SONGS BASED ISLAND IN INDONESIA A THESIS Presented as Partial Fulfillment of Requirements To Obtain Sarjana Komputer Degree In Informatics Engineering Department By Theodorus Cahyo Adi Nugroho 105314109 INFORMATICS ENGINEERING STUDY PROGRAM INFORMATICS ENGINEERING DEPARTMENT FACULTY OF SCIENCE AND TECHNOLOGY SANATA DHARMA UNIVERSITY YOGYAKARTA 2015 ii PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI iii PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI iv PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI HALAMAN PERSEMBAHAN This thesis belongs to : My Lord Jesus Christ, thank you so much for everything that He given to me until now… My parent, thank you so much for all supports and guiding me… My friends, thank you so much for all supports… v PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI PERNYATAAN
    [Show full text]
  • The Musicality of Campursari Music in the Islamic Ritual Context Bambang Sunarto
    International Journal of Visual and Performing Arts ISSN - Vol. 1, No. 1, Mey 2019, pp. xx-xx 1 The Musicality of Campursari Music in the Islamic Ritual Context Bambang Sunarto Associate Professor at Postgraduate School, Indonesian Art Institute, Surakarta, Jl. Ki Hajar Dewantara No 19, Surakarta, Indonesia [email protected] ARTICLE INFO ABSTRACT This article discusses Campursari’s music, which has an increasingly Article history broad role, from profane to sacrilegious Islamic areas. Since its birth, Received this music serves as entertainment music. In the era of the 1990s and its Revised peak in the 2000s, this music entered and interacted with the Islamic Accepted community. The entry of Campursari music into the Islamic religious community is the embodiment of expectations and demands for environmental situations and conditions. Hopes and demands give birth Keywords to musical syncretism, which gives birth to adaptation strategies. Music syncretism Verstehen are appropriate methods for recognizing forms of adaptation Ritual event and syncretism. The choice of the verstehen method is because this Religious article does not merely highlight the problem of music, but also tries to Campursari understand the social actions of Campursari musicians in serving the Adaptation Muslim community via Campursari music. The choice of this approach is because musical adaptation stems from the idea that the birth of musicality has the support of a socially developed network of meanings. The benefit is to recognize the principles and rules of adaptive value and productive syncretism that occur behind music phenomena. This is an open access article under the CC–BY-SA license. 1. Introduction In Central Java and its surrounding area, since the early 1990s has grown and developed a new musical genre called Campursari music.
    [Show full text]
  • The Background and the Language Change of Campursari
    395 JURNAL ETIKA , Edisi Khusus, No.2, 2010: 395-407 THE BACKGROUND AND THE LANGUAGE CHANGE OF CAMPURSARI Widhyasmaramurti Fakultas Ilmu Pengetahuan Budaya, Universitas Indonesia [email protected] ABstract Campursari is a Javanese music genre which was popularized by Manthous, a Javanese artist. In general, campursari is known as a combination essence between instruments such as gamelan and western diatonic instruments, as well as a combination essence within Indonesian national music genres, e.g. kroncong and dangdut. Although there are no written references which sufficiently explained about campursari, but it begin to catch the attention of Javanese people in the end of 1980s. The lack of sufficient references leads to the first question of this writing, which tries to inform about the background of campursari. Furthermore, the Javanese people today have had a social change. They have moved to big cities and have various professional jobs rather than being farmers. Their cultural interests have changed and opened a spot where music industry might come and give its influence. Moreover, the creativity process of campursari has more freedom of act because it lacks of specific meter. Song writers may create their own patterns by having the similar rhyme in a stanza or by using lexicons of non- Javanese language or the lexicons of other languages due to their ability as bilingual or multilingual. Therefore, a second question is raised. The question refers to the language change in campursari. The aim of this writing is to answer research questions. Therefore, four prehipotheses might be raised. First, campursari occurred as a reply on modernity within Javanese community.
    [Show full text]
  • Implementation of Arts Education in Society Through the Thematic Community Service Program
    Harmonia: Journal of Arts Research and Education 18 (2) (2018), 131-142 p-ISSN 2541-1683|e-ISSN 2541-2426 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: http://dx.doi.org/10.15294/harmonia.v18i2.13769 Implementation of Arts Education in Society Through The Thematic Community Service Program Juju Masunah1, Lely Kurniawati2 1Department of Dance Education, Faculty of Arts and Design Education, Universitas Pendidikan Indonesia, Indonesia 2Department of Early Childhood Teacher Education, Faculty of Education Science, Universitas Pendidikan Indonesia, Indonesia Received: March 15, 2018. Revised: July 2, 2018. Accepted: December 12, 2018 Abstract Since the transmission of arts education in the family is limited in Indonesia, the exploration of teaching strategy for community becomes imperative as a form of informal education. This ar- ticle aims to report research results on the implementation of arts education in society through thematic community service program, namely Pos Pemberdayaan Keluarga (POSDAYA) or “family empowerment post.” This qualitative study used a project-based research method, which began by diagnosing the problems, creating a plan for activities, implementing the plan, and evaluat- ing the results. Participants of this research were women and children from Bandung Barat Re- gency of West Java and students of Universitas Pendidikan Indonesia. Data were collected from interviews, participant observation, and study documentation. The data were triangulated and interpreted. The research found a collaborative teaching strategy between students, advisors, and women who worked for POSDAYA to implement arts education for children through creat- ing dances and musical dramas. The story in the drama contains moral values such as caring for others, appreciating one’s parents, tolerance, and environmental awareness.
    [Show full text]
  • Performing Indonesia a Conference and Festival of Music, Dance, and Drama
    Performing Indonesia a conference and festival of music, dance, and drama October 31−November 3, 2013 Freer Gallery of Art, Arthur M. Sackler Gallery, and S. Dillon Ripley Center, Smithsonian Institution A joint presentation of the Embassy of the Republic of Indonesia in Washington, D.C., and the Freer and Sackler Galleries, Smithsonian Institution Embassy of the Republic of Indonesia in Washington, D.C. H.E. Dr. Dino Patti Djalal, Ambassador of the Republic of Indonesia to the United States of America Freer Gallery of Art and Arthur M. Sackler Gallery Smithsonian Institution Julian Raby, The Dame Jillian Sackler Director of the Arthur M. Sackler Gallery and Freer Gallery of Art Performing Indonesia: A Conference and Festival of Music, Dance, and Drama steering committee Sumarsam, University Professor of Music, Wesleyan University Andrew McGraw, Associate Professor of Music, University of Richmond Haryo Winarso, Attaché for National Education, Embassy of the Republic of Indonesia Michael Wilpers, Manager of Public Programs, Freer and Sackler Galleries Ministry of The Embassy of the Education and Culture Republic of Indonesia, Republic of Indonesia Washington, D.C. Performing Indonesia a conference and festival of music, dance, and drama October 31−November 3, 2013 Schedule evening concerts conference International Gallery, S. Dillon Ripley Center Indonesian Music: Past and Present Javanese Shadow-Play: Hanoman on Fire* Keynote Address Thursday, October 31, 7:30 pm Traditional Performing Arts of Indonesia Javanese Dance and Gamelan from Yogyakarta* in a Globalizing World Friday, November 1, 7:30 pm Sumarsam Saturday, November 2, 11 am Musicians and Dancers of Bali* Freer, Meyer Auditorium Saturday, November 2, 7:30 pm Session 1 Traditional Theater and Dance from Sumatra* Perspectives on Traditional Repertoires Sunday, November 3, 7:30 pm Friday, November 1, 2–5:30 pm gamelan marathon S.
    [Show full text]
  • Tradisi Lisan Malam Berinai Pada Masyarakat Melayu Tanjung Balai
    TRADISI LISAN MALAM BERINAI PADA MASYARAKAT MELAYU TANJUNG BALAI DISERTASI Oleh LELA ERWANY NIM: 108107015 PROGRAM DOKTOR (S3) LINGUISTIK FAKULTAS ILMU BUDAYA UNIVERSITAS SUMATERA UTARA MEDAN 2016 UNIVERSITAS SUMATERA UTARA TRADISI LISAN MALAM BERINAI PADA MASYARAKAT MELAYU TANJUNG BALAI DISERTASI Diajukan sebagai salah satu syarat untuk memperoleh gelar Doktor dalam Program Doktor Linguistik pada Fakultas Ilmu Budaya Universitas Sumatera Utara di bawah pimpinan Rektor Sumatera Utara Prof. Dr. Runtung Sitepu, SH., M.Hum. untuk dipertahankan dihadapan sidang Terbuka Senat Universitas Sumatera Utara Oleh LELA ERWANY NIM: 108107015 Program Doktor (S3) Linguistik FAKULTAS ILMU BUDAYA UNIVERSITAS SUMATERA UTARA MEDAN 2016 UNIVERSITAS SUMATERA UTARA Judul Disertasi : TRADISI LISAN MALAM BERINAI PADA MASYARAKAT MELAYU TANJUNG BALAI Nama Mahasiswa : Lela Erwany Nomor Pokok : 108107015 Program Studi : Doktor (S3) Linguistik Menyetujui Komisi Pembimbing (Prof. Dr. Ikhwanuddin Nasution, M.Si.) Promotor (Prof. Dr. Robert Sibarani, M.S.) (Dr. Muhammad Takari, M.Hum.) Co-Promotor Co-Promotor Ketua Program Studi Dekan (Prof.T. Silvana Sinar, M.A.,Ph.D.) (Dr. Budi Agustono, M.S.) Tanggal Lulus: UNIVERSITAS SUMATERA UTARA Diuji pada Ujian Disertasi Terbuka (Promosi) Tanggal: PANITIA PENGUJI DISERTASI Pemimpin Sidang: Prof. Dr. Runtung Sitepu, SH., M.Hum. (Rektor USU) Ketua : Prof. Dr. Ikhwanuddin Nasution, M.Si. (USU Medan) Anggota : Prof. Dr. Robert Sibarani, M.S. (USU Medan) Dr. Muhammad Takari, M.Hum. (USU Medan) Prof. T. Silvana Sinar, M.A., Ph.D. (USU Medan) Dr. Rahimah, M.Ag. (USU Medan) Dr. Asmyta Surbakti, M.Si. (USU Medan) Dr. T. Thyrhaya Zein, M.A. (USU Medan) UNIVERSITAS SUMATERA UTARA TIM PROMOTOR Prof. Dr. Ikhwanuddin Nasution, M.Si.
    [Show full text]