Journal articles on the topic 'Traditional thai music'
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1
Jamnongsarn, Surasak. "Music deculturation: A traditional thai Music tool for Indonesian Music Adoption." International Journal of Creative and Arts Studies 5, no. 1 (October 29, 2018): 31–40. http://dx.doi.org/10.24821/ijcas.v5i1.2213.
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There has been foreign music influence on traditional Thai music since Ayutthaya period. Pi Jawa ( Java flute), Klong Jawa ( Java drum) and some traditional Thai song with foreign title have been legally and literally evident in Ayutthaya era. Some said that Thai people are open-minded in music, harmonious mixing overseas music culture with their own. Ethnomusicologists have seen this social phenomenon via music context and explained the revolution of traditional Thai music differently from the acceptance of music in general. This article reviewed the acceptance of Indonesian music, including Javanese music from Central Java and Sundanese music from West Java, into the Javanese Idiomatic Melody in traditional Thai music and Angklung Thai style. Indonesian music was seriously and forcefully deculturated. Playing technique has been adjusted to suit Thai music playing. Tuning system of Javanese Gamelan in Thailand has been fine tuned to conform to that of Thai music. Physical appearance of Sundanese Angklung has been replaced with Angklung Thai style. Javanese song have undergone music elaboration and rewritten to satisfy Thai musicians, with approval from elite Thai musicians and previous Thai music institutes together with Thai people in the society.
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Wisuttipat, Nattapol. "Relative Nature of Thai Traditional Music through its Tuning System." International Journal of Creative and Arts Studies 2, no. 1 (February 12, 2017): 86. http://dx.doi.org/10.24821/ijcas.v2i1.1441.
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Thai traditional music exhibits number of relative characteristics, though many of them are not expressed explicitly but only demonstrated orally. Its tuning system, despite having been put through many scientific studies for decades, cannot be given the absolute pitch frequencies. It is therefore possible that the tuning system does not have any absolute pitch frequencies but possesses relative nature. This papers aims to present the historic background, characteristics, past, current practices of Thai traditional music’s tuning system and to put forward the theoretical idea of non-existence of absolute tuning frequency and that of relative nature of Thai traditional music’s tuning system. The data was collected from previous researches on Thai traditional music’s tuning system and from sample instruments. The latter was then compared to each other and analyzed with respect to the former. The preliminary results were that tuning system of Thai traditional music was in the form of seven-tone equal temperament without any sharps or flats. But practically, it was not exactly equal as musicians still prefer the traditionalbiased tunings which is believed to be more tuneful. Regarding the tuning practices, the tuning of Fine Arts Department are most dominating among several others. Even though, the tuning of Fine Arts Department measure from various sources are slightly different in terms of frequencies and intervals. It can be concluded that the tuning system of Thai traditional music does not rely on specific pitch frequency, but is relative to intervals and personal preferences and its absolute pitch frequency is yet to be established.
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Phansue, Veera. "Traditional Thai Music Competition: The Culture of Pipat Competition." International Journal of Creative and Arts Studies 1, no. 2 (April 17, 2017): 74. http://dx.doi.org/10.24821/ijcas.v1i2.1561.
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The title of this research is “The Culture of Pipat Competition” has three purposes as follows: 1) To study the knowledge of Pipat competition; 2) To study the process of Pipat competition; 3) To study the process of judging and deciding a Pipat competition. This research used the qualitative method and presented the research by using descriptive analysis. The results found that; 1) The knowledge of Pipat competition. The competition is to bring ensembles to perform their skills and abilities. Mostly, in a Pipat ensembles the knowledge and skills displayed are governed by a definite set of form and rules during the competition. Only the Pipat Mon that there is no any form or rule in the competition. The ensembles that want to join the competition have to prepare very well in term of musicians and place for rehearsal before the event. Moreover, the conductor of ensemble has to be highly skilled and experienced in coming up with a new technique for playing in order to take an advantage over the rivals. And the conductor should know the strength and weakness of the rivals too. 2) The Study of the process of Pipat competition. The competition has a certain set of forms and rules. The detail of forms and rules will be set by each competitor agreement and it is very easy for practice. It is different from the competition that there is no form or rule so, this kind of competition, the musicians should have a lot of knowledge and in an easy and a relax ways without strict rule, form or time in the competition many kinds of songs will be played. Therefore the conductor must plan everything for the competition. There are 2 types of competition; 1) different song, each ensembles will take turn to play a song and begin with the basic melody until the highly complicated notes and those songs must be in the same style. 2) same song, each ensemble plays same song simultaneously during the whole competition. This kind of competition is very serious and if any of the ensemble cannot play or keep pace with the melody it means they lose the competition. 3) Study of the process of deciding and judging a Pipat competition. There are 3 types of judging in the Pipat competition. 1. The musician and the singer know the result by themselves. 2. The audience decides who wins the competition. 3. The judge decides who wins the competition. The advantage of decision is choosing the best ensemble with developed technique and playing method while the disadvantage is when the musicians do not accept the decision often leading to quarrel and disharmony.
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Zaimi, Zamira Najla Binti. "THE SURVIVAL OF TRADITIONAL MUSIC AND ITS CURRENT APPEAL IN CENTRAL THAILAND." Lakon : Jurnal Kajian Sastra dan Budaya 9, no. 1 (June 12, 2020): 35. http://dx.doi.org/10.20473/lakon.v9i1.19835.
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Traditional music in Central Thai society is a rich piece of culture that uncovers much about day to day existence in the society. This study investigates the factors contributing to the music’s declining appeal to the local people. It focuses on customary music in five focal regions of Thailand. In collecting the data, I combined survey, interviews, and observation. The analysis shows that the popularity and appeal of customary music in Central Thailand is declining. The decline is partly caused by the wide impacts of Western cultures and music on Thai society. Moreover, there are not many youngsters who are keen on preserving the existence of the traditional music. This is coupled with the absence of the government in supporting the survival of the music. It is pity as the folk music is very much in tune with the everyday life of Central Thai society. However, in order to survive it requires modernization and adaptation with the changing dynamics of the society.
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Kanchanapradit, Jarun, and Wanida Bhrammaputra. "Rājādhirāt: From the History to an Influential literature for Mon-accented Thai traditional Repertoires." International Journal of Creative and Arts Studies 2, no. 2 (December 18, 2015): 23. http://dx.doi.org/10.24821/ijcas.v2i2.1795.
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This article aimed to study Mon-accented Thai traditional repertoires through Rājādhirāt literature, which owe its origin from the Chronicles of the Mon. It is the story about the battle between the king Rājādhirāt of Pegu and King Farang Mang Kong of Ava. The translated Thai language prose version was arranged by Chao Phraya Phra Khlang (Hon), a poet master during King Rama I. Later during King Rama V, the Rājādhirāt was adapted for theatrical play – Lakorn Pan Tang – leading to development in musical front in order to assign appropriate Mon-accented musical pieces for the characters, their expressions, and story. Anthropologically, Rājādhirāt Literature was not only an entertainment, but also a revival of Mon-accented Thai traditional repertoires which have been associated with the Thai society for so long. The repertoires served as a reminder of once-flourishing Mon history through literature, play, music. Analysis of historical evidence, concerned persons such as the translator of Rājādhirāt from Burmese to Thai language, experienced Thai musician who played and assigned the repertoires; and expressive interpretation of musical repertoires from Rājādhirāt play by the Fine Arts Department are the integral process that made this article present another perspectives of Mon-accented Thai traditional repertoires while featuring relationship between literature, play and music in Thailand.
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Barton, Jintana T. "A Comparative Study of Chinese Musical Activities in Chinese and Thai Cultural Contexts." MANUSYA 10, no. 2 (2007): 1–13. http://dx.doi.org/10.1163/26659077-01002001.
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This research explores the influence of Chinese music as it is reflected in cultural activities in China and Thailand. In China, music has been used since long before the time of Confucius (551-479 BC) as a learning tool, and the Chinese who migrated into Southeast Asia and ultimately Thailand brought their music with them. In Thai society, Chinese music has been used in traditional ways. Although the music remains closer to what was brought with the immigrants, it has been adopted into Thai society in ways that go far beyond the original Chinese use. This research found that some Chinese musical activities have become ingrained into Thai culture and society such as Lion Dance group performances in the processions for the ceremonial candle (Tian Phansa), the Khan Mak procession, and the Songkran Festival procession. The Lion Dance group also has a photo of a famous Thai monk on the front of a big drum. We also found that the khim is the most popular Chinese musical instrument among Thai people.
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Janninwong, Nattanan. "The creative Thai traditional dance performance of King Naresuan's Declaration of Independence." Asian Journal of Arts and Culture 22, no. 2 (December 14, 2022): 256888. http://dx.doi.org/10.48048/ajac.2022.256888.
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The research on a creative Thai traditional dance performance of King Naresuan's Declaration of Independence. The objective is to study the history of King Naresuan the Great to design a performance of Thai dance, creating a set of King Naresuan's Declaration of Independence, in order to integrate teaching and learning in single dance and duo dance courses, bachelor of education program, department of Thai Dramatic Arts Studies. The methods of conducting research by studying and collecting document data, relevant research includes the study of solo dance styles in various performance sets.The results showed that a creative performance of Thai dance King Naresuan declares independence. The idea came from the belief in the brave Thai King and having a heart of patriotism. It is a solo dance performance. It is a dance showing off the skill of the performer along with their faith by using 3 principles of designing poses and dancing styles, namely 1. Using the imagination 2. Using the principle of dance in combination with natural gestures 3. Using the principle of stylistic dance (or body language in dance) and the master dance that is a standard dance streak in the form of a dance according to the lyrics and melody to convey the meaning of the song. The dance moves show the uniqueness of the characters to be consistent and beautiful in the style of Thai dance. Conveying the dance process in the solo and couple dance course for 3rd year undergraduate students in the field of Thai Dramatic Arts Department of Dramatic Music Faculty of Fine and Applied Arts, Rajamangala University of Technology Thanyaburi. Students are able to practice the dance movements, styles, and emotions of the characters beautifully in a traditional Thai dance style and goes well with the lyrics and melody.
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Rachman, Abdul, Pramot Teangtrong, Phakamas Jirajarupat, and Indrawan Nur Cahyono. "A Comparative Study of Playing Patterns on Gambang and Ranat Ek Instruments." Harmonia: Journal of Arts Research and Education 21, no. 2 (January 1, 2022): 356–68. http://dx.doi.org/10.15294/harmonia.v21i2.31037.
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Gambang Semarang is one of Indonesia’s traditional music which has an instrument made of wood, namely gambang (xylophone). Thai Pi Phat Ensemble has a Gambang-like instrument called Ranat Ek. In the presentation, each of these instruments certainly has a playing pattern that is characteristic of the music itself. This study aims to identify and describe the pattern of traditional music playing in the Gambang Semarang, especially the Gambang instrument and the traditional music of Thai Pi Phat Ensemble, especially the Ranat Ek instrument. The research method used is qualitative with a musicological approach. Data collection techniques were carried out by using observation, interviews, document studies, and Focused Group Discussions. Data analysis was carried out with the stages of data reduction, data classification, and concluding. The results show that the playing pattern of the Gambang instrument in the Gambang Semarang music contains two types of playing patterns, namely sekaran Nglagu and cengkok ajeg. While the playing pattern of the Ranat Ek instrument in the Pi Phat Ensemble consists of kan ti kro, kan ti kep, kan ti siao mue, kan ti sado, and kan ti sabat. The two instruments have similarities and differences in playing patterns which are most likely due to differences in functions and roles in group play.
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Rodsakan, Tepika. "Music: A tool in transforming the Social Status of Special needs Children." International Journal of Creative and Arts Studies 5, no. 1 (October 29, 2018): 67–71. http://dx.doi.org/10.24821/ijcas.v5i1.2216.
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There are some attempts to politically encourage the rights of social status to Special Needs Children by both Thai government and non-government organizations. Practically, the fact indicates that the Special Needs Children’s social status and roles are vaguely partial in terms of whether opportunities or social rights. The researcher has experimented by organizing traditional Thai musical activities to Special Needs Children, the case study of Panyawutikorn School. Pre-test and post-test results and observation evidently have shown that the musical skills are increasingly improved. Similarly, an empirical data presents they took pride proudly when they are being praised in their developing skills by teachers, parents as well as H.R.H. Mahachakri Sirindhron princess, has been at Panyawutikorn school in order to attend Thai musical performance of Special Needs Children, the attention of princess can encourage them to be more engaged in musical performance of Special Needs Children and also people involved. As mentioned above, ‘music’ is utilized as a tool to transforms the social status and give them a chance of playing role as givers. The traditional Thai music ensemble of Special Needs Children is requested to broadly show their abilities in many places such as hospitals, elderly cares, and in other school activities. Truly, music therefore is effectively able to transmit the social status of the Special Needs Children from previously they were defined as always receivers to be currently understood as givers. Furthermore, the study also provided the number of children is stepping up and paying more attentions in musical activities. This is to really consider the attempts to push up Special Needs Children in the same level of citizenship hierarchy.
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Campbell, Patricia Shehan. "The Making of Musicians and Musical Audiences in Thailand." International Journal of Music Education os-25, no. 1 (May 1995): 20–28. http://dx.doi.org/10.1177/025576149502500103.
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‘If the classical music of Thailand is to be preserved, then the traditional house schools of musical learning should be maintained. The modernized Thai schools can never hope to produce the quality of musicians to match the greatness of those who came before.’ (From an interview with Chalermsak Pikulsri, Khon Kaen, Thailand)
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Kartomi, Margaret J. "“Traditional Music Weeps” and Other Themes in the Discourse on Music, Dance and Theatre of Indonesia, Malaysia and Thailand." Journal of Southeast Asian Studies 26, no. 2 (September 1995): 366–400. http://dx.doi.org/10.1017/s0022463400007141.
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One of the most remarkable features of the past twenty years of scholarship on the Southeast Asian performing arts has been the sparking off of ideas between Southeast Asian-born scholars, whether trained in Southeast Asian universities or overseas, and Western scholars of the Southeast arts who live in North America, Australia, Europe, Japan and elsewhere. In colonial Indonesia (until 1945) and Malaysia (until 1957), research agendas of Dutch and British scholars respectively had complied with the social, economic and political priorities of the colonial powers and associated local court-centred artistic interests, though not always consciously. In Thailand, which was the only country in the region not to be colonized by a European power, Thai scholars had been actively researching their own court performing arts in the late colonial era but were nevertheless influenced by the colonial ethos of the region. In the past twenty years or so, the developing dialogue and contradictions between Southeast Asian and foreign scholars, each with their own partly distinctive assumptions and methodologies based on the priorities of their respective traditions and governments, have resulted in a healthy divergence, convergence, and cross-fertilization of ideas.
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Chaiyasit, Chayaporn. "Creation of Pari Tanyong." Asian Journal of Arts and Culture 22, no. 2 (December 25, 2022): 259786. http://dx.doi.org/10.48048/ajac.2022.259786.
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The objective of this creative research entitled “Creation of Pari Tanyong” was to compose Pari Tanyong using qualitative research methodology conducted by studying about the concepts, theories, academic subjects, related research, concepts and theories in Thai music, concepts and theories of Thai music composition, concepts and theories concept of aesthetics, concepts and theories of art creation, academic subjects about Tanyong songs including research related to Thai music composition in order to define the scope and process of composition. There were two types of tools in this research: unstructured interview forms and work assessment forms. Theresults were presented by using a traditional southern folk song (Rong-Ngeng).The researcher composed the melody using the amplified composition and creating an augmentation to 8 bars by dropping the melody to 8th bar which had the same sound at the end of the original melody. The newly composed melody was discussed by descriptive analysis. The results from the research process of creation of Pari Tanyong were
1) consisted of melodies of 6 songs as follows: Cheerful song (Lagu-Dua song): an instrumental song consisting of 3-verse melodies and 4 sentences per verse.
2) Joyous song (Soi Rakham): lyrics consisted of 1-verse melody and 6 sentences per verse.
3) Yahong song: the researcher used the original melody in order to conform the tradition of Tanyong
song consisting of 1-verse melody, 2 sentences per verse, and 2 bars.
4) Relaxing song (Jingli Nona): an instrumental song consisting of the main melody and the ending melody, totaling 8 sentences.
However, when assessing the suitability of the melody by 5 experts, it was found that there was a highly suitable level.
Keywords: Creation, Southern folk song, Pari Tanyong, Tanyong songs, Thai music composition
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Vadhanasiriphongs, Bhannavichaya. "The Refashioning of Thai School Theme Songs: A Case Study of Symphony on a ‘Pin-Hatai’ Theme." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 10 (December 7, 2022): 21–32. http://dx.doi.org/10.30819/aemr.10-4.
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At present, the idea of re-composing school theme songs into more fashionable icons is tenable in the eyes of local composers. In Thailand, although numerous school theme songs are presumably in need of refashioning, yet there are not many where this need has been addressed. A school theme song Pin-Hatai of Triam Udom Suksa School is one of those songs that was successfully re-composed by the author into a sophisticated choral symphony, called Symphony on a Pin-Hatai Theme. There are the compositional techniques such as the use of cyclic form, the intermingling of Thai and Western compositional idioms, and a systematic tension and release being integrated into re-composing Symphony on a Pin-Hatai Theme. I argue that the newly written symphony can rightfully be perceived as a corollary of a new assertion to change twentieth century compositional methods on the consistency of showing an attempt to preserve its traditional characters to please a large audience. Based on the author’s PhD dissertation, the purpose of this article is to conceptualise ways on how Thai school theme songs can be refashioned into upgraded versions, on which a Pin-Hatai theme song of Triam Udom Suksa School will be a particular focus.
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Peerapun, Wannasilpa, Siriwan Silaphacharanan, and Vira Sachakul. "The Conservation of Cultural Heritage Along Amphawa Canal, Samut Songkhram Province." MANUSYA 9, no. 4 (2006): 58–73. http://dx.doi.org/10.1163/26659077-00904005.
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The Amphawa community houses the birth place of King Rama II Nowadays this community is still water-based and one can see Thai-styled and row houses, canal-side walkways and ladders leading down to the canal. Against this backdrop are coconut plantations and mixed orchards of pomelo, lychee, etc. Amphawa is also rich in Thai culture featuring mural paintings, traditional dance and music and architecture. Water-based ways of life are very much alive as evidenced by water traffic. The objective of the project is to modify and apply the SAVE and CHIP techniques devised by the Danish Government as part of Cultural Heritage Conservation, awareness-raising campaign and demonstration of conservation campaign of traditional buildings ranging from government buildings, Thai-styled and contemporary houses and row houses to the rehabilitation of a canal landscape. As a result, local people are better aware of the advantages of cultural heritage conservation while the project enhances the preparedness of the community to accommodate ecological tourism. Finally, the experience gained from this project can also be applied to other areas of Thailand.
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Ross, Lawrence. "The Rong Ngeng of the Andaman Coast: History, Ecology, and the Preservation of a Traditional Performing Art." Manusya: Journal of Humanities 23, no. 3 (December 23, 2020): 389–406. http://dx.doi.org/10.1163/26659077-02303008.
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Abstract This article examines recent grassroots strategies for preserving traditional performing arts along southern Thailand’s Andaman Sea Coast, focusing on rong ngeng, an idiomatic form of social dance and music, widely popular there in the post-World War Two years. Between 1935 and 1960 a small, mixed cohort of rural performing artists created networks of communities, scattered on Thai-Andaman, with a distinctive regional culture based in the shared repertoire of songs and dances they adapted, created an innovative lyrical style called phleng tanyong (Tanyong song), and a star system that turned village performers into local celebrities (Ross 2017, 68). More than a mere vibrant, short-lived micro-tradition which declined in the wake of a growing, hegemonic pan-Thai performing arts culture, however, rong ngeng has, since the 2000s, experienced a revival. The new incarnation was tied to economics, nostalgia, and a reawakening of local identity. Using a broadly cultural ecology approach which draws on more than a decade of fieldwork in the Thailand-Malaysia border region, oral accounts of rong ngeng performers, past and present, and comparisons with performance practices across the regions, this paper argues that efforts toward revival and sustainability have seen their greatest success among communities that possess several characteristics, including strong historical and genealogical links to erstwhile cultural practices, participatory forms of entertainment, and the ability among its members to articulate the relevance of performing arts to the society-at-large.
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Jamnongsarn, Surasak. "TRANSKULTURASI MUSIK ANTARAGAMELAN JAWA, ANGKLUNG, DAN MUSIK TRADISI THAILAND." MELAYU ARTS AND PERFORMANCE JOURNAL 2, no. 2 (January 20, 2020): 158. http://dx.doi.org/10.26887/mapj.v2i2.975.
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Javanese gamelan and angklung to Thailand music gives the impact on the development of Thailand traditional music. That musical transculturation exists in the musical instrument of angklung and the musical concept of Javanese gamelan that are then mixed with the system of Thailand traditional music involving gamut (tuning system), presentment method, and its function in society. This transculturation shows the understanding of cultural relation between Thailand traditional music that has the background of Buddhism philosophy and Gamelan that has the background of Kejawen syncretism. These two kinds of music have formed the new characteristic and identity of Thailand music. Angklung played with the concept of Javanese gamelan called as angklung Thailand that then becomes Thailand traditional music. The article aims at revealing the transculturation of Javanese gamelan and angklung into the traditional music and its impact on the development of Thailand traditional music. This research used qualitative method with the accentuation in field research that involved researcher with the material object to delve various musical experiences by participating as the player of those two musical instruments. The transculturation of Javanese gamelan and angklung with Thailand traditional music has given the new development in Thailand traditional music. Keywords: Transculturation, Javanese gamelan, angklung, and Thailand traditional music ABSTRAKTranskulturasi gamelan Jawa dan angklung ke Thailand memberikan dampak pada perkembangan musik tradisi Thailand. Transkulturasi musik itu berwujud pada alat musik angklung dan konsep musikal gamelan Jawa, kemudian bercampur dengan sistem musik tradisi Thailand, yang mencakup pada tangga nada (tuning system), carapenyajian, dan fungsinya dalam masyarakat. Transkulturasi inimemunculkan pemahaman relasi kebudayaan antara musik tradisi Thailand yang berlatar belakang filosofi Buddhisme dan gamelan yang berlatar belakang sinkretis kejawen. Kedua musik ini telahmembentuk ciri dan identitas baru musik Thailand.Angklung yang dimainkan dengan konsep gamelan Jawa yang disebut angklung Thailand selanjutnya menjadi musik tradisi Thailand. Artikel bertujuan mengungkap transkulturasi gamelan Jawa dan angklung ke musik tradisi serta dampaknya pada perkembangan musik tradisi Thailand. Penelitian ini menggunakan metode kualitatif dengan penekanan pada penelitian lapangan yang melibatkan peneliti dengan objek materialuntuk menggali berbagai pengalaman musikal dengan ikut serta bermain kedua musik itu. Transkulturasi gamelan Jawa dan angklung dengan music tradisi Thailand telah memberikan perkembangan baru pada musik tradisi Thailand. Kata kunci: transkulturasi, gamelan Jawa, angklung, dan musik tradisi Thailand
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Sularso, Sularso. "Pendekatan literasi musik: Upaya mengetahui persepsi mahasiswa pendidikan guru sekolah dasar tentang keragaman budaya musik Indonesia." Wiyata Dharma: Jurnal Penelitian dan Evaluasi Pendidikan 10, no. 1 (August 7, 2022): 1–7. http://dx.doi.org/10.30738/wd.v10i1.12745.
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Bagi mahasiswa pendidikan guru sekolah dasar, pembelajaran musik menjadi matakuliah wajib yang harus dituntaskan. Dalam masyarakat multikultural, siswa pendidikan guru sekolah dasar harus memahami khasanah musik Indonesia secara baik. Persoalannya adalah mahasiswa pendidikan guru sekolah dasar tidak secara spesifik mengambil jurusan musik, sehingga rata-rata mereka tidak memiliki pengetahuan literasi musik secara memadai. Perspektif literasi musik tradisional ini dimaksudkan untuk membantu mahasiswa sekolah dasar dalam memahami hubungan antara musik tradisional dan pendidikan musik multikultural. Signifikansi penelitian ini terletak pada pentingnya perspektif literasi musik tradisional dalam membantu semua mahasiswa pendidikan guru sekolah dasar dalam mengkonstruksi pengetahuan tentang musik tradisional Indonesia. Berpijak pada persoalan tersebut, maka penelitian ini bertujuan untuk mengetahui persepsi mahasiswa pendidikan guru sekolah dasar dalam kaitannya dengan keragaman budaya musik Indonesia dengan pendekatan literasi musik. Data diperoleh melalui observasi, dan wawancara. Data yang dikumpulkan meliputi data-data pengetahuan musik tradisi, respon pengindraan musik, hingga perhatian mahasiswa terhadap fenomena musik tradisi disekitarnya. Hasil klasifikasi ketiga jenis data tersebut selanjutnya dianalisis dengan pendekatan literasi musik. Hasilnya adalah bahwa pendekatan literasi musik tradisional dapat membantu mahasiswa pendidikan guru sekolah dasar dalam mengkonstruksi pengetahuan tentang musik tradisional Indonesia. Kontribusi penelitian ini terletak pada pembentukan perspektif baru tentang pentingnya peningkatan literasi musik tradisional Indonesia sebagai upaya untuk melestarikan identitas dan semangat multikultural bagi calon guru sekolah dasar di Indonesia. Music literacy approach: An effort to find out the perceptions of elementary school teacher education students about the diversity of Indonesian music culture Abstract: For elementary school teacher education students, learning music is a compulsory subject that must be completed. In a multicultural society, elementary school teachers' education students must understand the repertoire of Indonesian music well. The problem is that elementary school teacher education students do not specifically major in music, so on average, they do not have adequate knowledge of musical literacy. This traditional music literacy perspective is intended to assist elementary school students in understanding the relationship between traditional music and multicultural music education. The significance of this research lies in the importance of the traditional music literacy perspective in helping all elementary school teacher education students in constructing knowledge about Indonesian traditional music. Based on these problems, this study aims to determine the perceptions of elementary school teacher education students in relation to the diversity of Indonesian music culture with a musical literacy approach. Data was obtained through observation and interviews. The data collected includes data on knowledge of traditional music, musical sense responses, and students' attention to the phenomenon of traditional music around them. The results of the classification of the three types of data are then analyzed using a musical literacy approach. The result is that the traditional music literacy approach can help elementary school teachers educate students in constructing knowledge about Indonesian traditional music. The contribution of this research lies in the formation of a new perspective on the importance of increasing literacy in traditional Indonesian music as an effort to preserve the identity and multicultural spirit of prospective elementary school teachers in Indonesia.
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Ihsan, Andi. "STRUKTUR MUSIKAL POMPANG: SUATU KAJIAN BENTUK DAN KOMPOSISI MUSIK TRADISIONAL DI KABUPATEN MAMASA." JURNAL IMAJINASI 6, no. 2 (December 9, 2022): 144. http://dx.doi.org/10.26858/i.v6i2.38729.
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Penelitian ini bertujuan untuk mendeskripsikan dan menganalisis bentuk dan komposisi musik Pompang sebagai salah-satu musik tradisional yang ada di kabupaten Mamasa. Penelitian ini adalah penelitian analisis deskriptif dengan pendekatan kualitatif. Pengumpulan data dilakukan melalui observasi, studi dokumen, dan wawancara, yang selanjutnya dianalisis dengan cara mereduksi data, display dan selanjutnya verifikasi data. Hasil penelitian menunjukkan bentuk lagu pada musik pompang di kabupaten Mamasa terdiri atas dua bentuk yaitu (1) bentuk lagu dua bagian dan (2) bentuk lagu tiga bagian. Komposisi musik popang terdiri atas tiga komponen besar yaitu alat musik suling, alat musik pompang dan alat musik gendang. Kata kunci: Bentuk music; Komposisi; Musik tradisional AbstractThis study aims to describe and analyze the form and composition of Pompang music as one of the traditional music in Mamasa district. This research is a descriptive analysis research with a qualitative approach. Data was collected through observation, document study, and interviews, which were then analyzed by reducing data, displaying and further verifying data. The results showed that the form of the song in the pompang music in Mamasa district consisted of two forms, namely (1) a two-part song form and (2) a three-part song form. The composition of popang music consists of three major components, namely the flute, the pump and the drum. Keywords: Musical form; Composition; Traditional music
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Kearney, Daithí, and Adèle Commins. "Studio Trad: Facilitating traditional music experiences for music production students." Journal of Music, Technology & Education 11, no. 3 (December 1, 2018): 301–18. http://dx.doi.org/10.1386/jmte.11.3.301_1.
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Many music production programmes in higher education institutions are heavily invested in popular music genres and production values in contrast to the diversity of musics often included in other music programmes and encountered in everyday life. Commenting on his 2017 album, Ed Sheeran highlights the potential for incorporating Irish traditional music into popular music. Over the past number of years, creative practice research projects at Dundalk Institute of Technology have provided opportunities for music production students to engage in the recording and production of Irish traditional music, broadening their experience beyond popular music genres and facilitating time for them to work collaboratively with Irish traditional musicians. Thus, an authentic and action-oriented mode of engagement in higher education is utilized to enhance the learning experience continuously aware of changes and attitudes in the music industry. This article focuses on three Summer Undergraduate Research Projects that provided students with the opportunity to research and record Irish traditional music during the summer months. The project not only provided the students with credible industry-like experience, it also provided the staff involved with an insight into the potential of collaborative project work to address multiple learning aims and objectives. In this article, a critical review of the projects is informed by feedback from the students involved, which can inform future development and structures of existing programmes in music production education.
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Tan, Yunshu, and Lauren Conti. "Effects of Chinese popular music familiarity on preference for traditional Chinese music: Research and applications." Journal of Popular Music Education 3, no. 2 (July 1, 2019): 329–58. http://dx.doi.org/10.1386/jpme.3.2.329_1.
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Teaching and learning popular music and world musics are prominent topics in music education but often play a supplement role in the classroom. The main purpose of this quantitative experimental study was to investigate the effects of Chinese popular music on students’ familiarity and preference for its traditional version. Participants were undergraduate students from a university in the northeastern United States who completed a pre-test, minimum four weekly treatments and post-test. Results suggest participation in a world music course may contribute to preference for Chinese traditional music, but short-term exposure to popular versions of Chinese traditional music does not seem to contribute to preference for Chinese traditional music. A reason for this may be that popular music has its own cultures and characteristics that are not necessarily transferable to music from other music genres. In addition, the personality traits of open-mindedness or closed-mindedness showed significant influence over preference for traditional or popular music, respectively.
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Junaidi, Akhmad Arif. "JANENGAN SEBAGAI SENI TRADISIONAL ISLAM-JAWA." Walisongo: Jurnal Penelitian Sosial Keagamaan 21, no. 2 (December 15, 2013): 469. http://dx.doi.org/10.21580/ws.2013.21.2.254.
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<p class="IIABSBARU1">This paper is based on the cultural reality of Javanese Muslim society especially in Islamic Javanese traditional music. The cultural expression of Islamic-Javanese music is very diverse and reflecting the diversity of the “face” of Islam that has been adapted to the local culture. Janengan’s Islamic Javanese traditional music is an expression from three different cultural music traditions: Javanese music tradition, Middle Eastern music traditions (Arabic), and currently has been developed with a combination of Western music such as pop. The combination of three different musical traditions creates a unique creativity in Javanese music character. The character also encourages the values covering musical values, cultural values, and religious values. Thematically, the Janengan’s lyrics contain a variety of Islamic teaching such as monotheism, shari’ah and sufism.<strong></strong></p><p class="IKa-ABSTRAK">***</p>Tulisan ini dilatarbelakangi satu realitas budaya yang dihasilkan dari kehidupan masyarakat Muslim Jawa khususnya seni musik tradisional Islam-Jawa. Ekspresi kebudayaan Islam-Jawa dalam seni musik ini sangat beragam dan mencerminkan keberagaman “wajah” Islam yang telah beradaptasi dengan budaya lokal. Musik tradisional Islam-Jawa <em>Janengan</em> merupakan perwujudan dari perpaduan tiga unsur tradisi musik, yakni tradisi musik Jawa, tradisi musik Islam Timur Tengah (Arab) dan kini telah dikembangkan dengan kombinasi musik Barat seperti pop. Perpaduan ketiga unsur tradisi musik yang berbeda ini membentuk suatu hasil kreativitas yang unik bercirikan musik Jawa. Musik tradisional Islam-Jawa ini juga melahirkan nilai-nilai yang meliputi nilai-nilai musikal, nilai-nilai kultural, dan nilai-nilai religius. Secara tematik syair-syair <em>Janengan</em> berisi berbagai ajaran seperti akidah (tauhid), syari’at dan tasawuf.
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Gunawan, Asril, Yofi Irvan Vivian, and Agus Kastama Putra. "Kontemplasi Musik Tradisi di IKN Kalimantan Timur dalam Kontinuitas dan Perubahan." Jurnal Mebang: Kajian Budaya Musik dan Pendidikan Musik 2, no. 2 (October 31, 2022): 111–22. http://dx.doi.org/10.30872/mebang.v2i2.30.
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East Kalimantan is a province rich in natural resources and the diversity of its traditional arts. The diversity of traditional art forms, particularly traditional music, can be observed in the Outback, Coastal, and Palace Music (Kedaton Kutai)—which is still being maintained—of course, cannot be separated from the continuity and changes that accompany it. This study aims to form a collective awareness of the community through a space of contemplation on the sustainable preservation of traditional music with the importance of involving practitioners, artists, communities, cultural observers, academics, and the government as a strengthening of the sustainable literacy movement. Strengthening literacy in traditional music includes documentation, archiving, and recording of WBTB, cultural dissemination, and regeneration processes. This research uses a qualitative approach through case studies. The study results indicate that literacy strengthening in IKN East Kalimantan related to development policies and culture must go hand in hand so that the continuity and change of arts and culture are more dynamic. Kalimantan Timur merupakan provinsi yang kaya akan sumber daya alam maupun keragaman seni tradisinya. Keragaman bentuk kesenian tradisi, khususnya musik tradisi, dapat diamati pada musik Pedalaman, Pesisir, dan musik Istana (Kedaton Kutai)—yang hingga kini masih terus dipertahankan—tentu tidak terlepas dengan adanya kontinuitas dan perubahan yang menyertainya. Penelitian ini bertujuan membentuk kesadaran kolektif masyarakat melalui ruang kontemplasi terhadap pelestarian musik tradisi yang berkelanjutan dengan pentingnya melibatkan praktisi, seniman, masyarakat, budayawan, akademisi dan pemerintah, sebagai penguatan gerakan literasi berkelanjutan. Penguatan literasi pada musik tradisi di antaranya: pendokumentasian, pengarsipan, dan pencatatan WBTB, diseminasi budaya dan proses regenerasi. Penelitian ini menggunakan pendekatan kualitatif melalui studi kasus. Hasil penelitian menunjukkan bahwa penguatan literasi di IKN Kalimantan Timur terkait kebijakan pembangunan dan kebudayaan harus berjalan seiring, agar kontinuitas dan perubahan seni dan budaya di IKN lebih dinamis.
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Soputan, Ferdinand A. "Aransemen Musik Populer dalam Ansambel Musik Kolintang Kayu Minahasa." Urban: Jurnal Seni Urban 4, no. 1 (April 15, 2020): 43–60. http://dx.doi.org/10.52969/jsu.v4i1.63.
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Kolintang is a traditional musical instrument from Minahasa, North Sulawesi. This music is traditional because the instruments or instruments are made of wood. This music is played by hitting so that the type of music is included in the type of pitched percussion music. Kolintang music is a type of musical instrument that can play various genres of music, ranging from keroncong, classical, jazz, chacha, and so on. With its openness to various genres, the music from Minahasa is certainly played with a certain arrangement. There are two arrangement models that the author will describe in this paper, namely the standard arrangement with three chords and the modern arrangement with progressive chords. In this article, the author will describe these two arrangement models to show that the audience’s enthusiasm is also determined by an attractive arrangement in a kolintang musical performance. The method used is a method of comparison of two different arrangements. From the search conducted, the author will show that kolintang music can be arranged with various chords and musical genres. Thus, it was found that the novelty that emerged was that the kolintang musical arrangements that could be presented with various genres were part of the adaptation to the popular arrangement model. So, the development and progress of music that occurs in general can also be found in kolintang music, especially with regard to the problem of arrangement as seen in the data studied.Kolintang adalah alat musik tradisional dari Minahasa, Sulawesi Utara. Musik ini bersifat tradisional karena instrumen atau alatnya terbuat dari kayu. Musik ini dimainkan dengan cara pukul sehingga jenis musiknya termasuk ke dalam jenis musik perkusi bernada. Musik kolintang adalah jenis alat musik yang dapat memainkan berbagai genre musik, mulai dari keroncong, klasik, jaz, chacha, dan lain sebagainya. Dengan keterbukaannya pada berbagai genre, musik asal Minahasa ini tentu dimainkan dengan sebuah aransemen tertentu. Terdapat dua model aransemen yang akan penulis uraikan dalam tulisan ini, yakni aransemen standar dengan tiga akor dan aransemen modern dengan akor progresif. Dalam artikel ini, penulis akan menguraikan kedua model aransemen ini untuk memperlihatkan bahwa antusias audiens juga ditentukan oleh aransemen yang menarik dalam sebuah penampilan musik kolintang. Metode yang digunakan adalah metode perbandingan dua aransemen yang berbeda. Dari penelusuran yang dilakukan, penulis akan memperlihatkan bahwa musik kolintang dapat diaransemen dengan berbagai akor serta genre musik. Dengan demikian, didapatkan hasil bahwa kebaruan yang muncul adalah bahwa aransemen musik kolintang yang dapat disuguhkan dengan berbagai genre itu merupakan bagian dari adaptasi dengan model aransemen yang populer. Jadi, perkembangan dan kemajuan musik yang terjadi pada umumnya juga dapat ditemukan dalam musik kolintang, khususnya berkaitan dengan masalah aransemen sebagaimana terlihat pada data yang diteliti.
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Lebaka, Morakeng Edward Kenneth. "Modes of Teaching and Learning of Indigenous Music Using Methods and Techniques Predicated on Traditional Music Education Practice: The Case of Bapedi Music Tradition." European Journal of Education 2, no. 1 (April 30, 2019): 62. http://dx.doi.org/10.26417/ejed-2019.v2i1-55.
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This paper takes a look at music education in Bapedi society in Sekhukhune district, Limpopo Province in South Africa as the transmission of musico-cultural manifestations from one generation to the other. The aim is to investigate the modes of transmission of indigenous Bapedi music. Music teaching and learning in Bapedi society is an integral part of cultural and religious life, and is rich in historical and philosophical issues. Traditional music knowledge system produces a better result to the teaching and learning of indigenous music in Bapedi culture. The research question of interest that emerges is: What are the modes of transmission for indigenous Bapedi music during the teaching and learning process? The primary source for data collection was oral interviews and observations. Secondary sources include theses, books and Journal articles. Performances were recorded in the form of audio-visual recordings and photographs. The results have shown that in Bapedi society, learning music through participation has been a constant practice. The transmission process involves participation, fostering of communal sense, concentration on the present moment and the use of musico-cultural formulae and cues for interactional purposes. It was concluded that in Bapedi society, creative music making and music identity are the obverse sides of the same coin, in that the former provides an arena in which the latter can be explored.
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Tuinstra, Beth. "Embracing identity: An examination of non-Western music education practices in British Columbia." International Journal of Music Education 37, no. 2 (February 21, 2019): 286–97. http://dx.doi.org/10.1177/0255761419827359.
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Although traditional music programs and university music and music education training programs have mostly incorporated Western classical music, British Columbia’s new curriculum signifies a shift from the Western classical framework to one that is more inclusive of the cultural diversity that exists in Canada. Using the frameworks of decolonization, non-Western music education, and music education and identity, I researched the current practices, experiences, and attitudes of British Columbian kindergarten to Grade 12 (K–12) music educators. I used a mixed-methods questionnaire to gain an understanding of the practices, experiences, and attitudes of these educators ( N = 80). Through this examination, I discovered that although 84% of respondents felt that it was important for students to receive a diverse, non-Western music education, only 63% currently utilized non-Western musics in their teaching practices. Respondents included the benefits or difficulties that they have experienced while including non-Western musics in their teaching practices, but they also talked about the barriers that have prevented them from including non-Western musics into their teaching practices. However, educators reported that by including non-Western musics, students showed greater joy, self-expression, engagement, open-mindedness, and empathy for others, causing a positive shift in classroom culture.
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Matanari, Oang Gabriel, I. Komang Darmayuda, and Ni Wayan Ardini. "“Belenggu Benalu”: Komposisi Kolaborasi-Interpretatif mengenai Pengaruh Akulturasi Budaya Barat pada Musik Batak Toba “Uning-uningan”." Journal of Music Science, Technology, and Industry 2, no. 1 (January 15, 2019): 85. http://dx.doi.org/10.31091/jomsti.v2i1.612.
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Budaya asing yang masuk ke tanah Batak di Sumatera Utara, Indonesia, membawa pengaruh yang besar bagi perkembangan musik Batak Toba atau Uning-uningan, yaitu ansambel hasil transformasi antara Gondang Hasapi yang terdiri atas Sarune Etek, Hasapi Doal, Hasapi Ende, Garantung, serta Hesek, dengan Gondang Sabangunan/Bolon (Taganing, Ogung (Gong), Odap, dan Hesek serta Sarune Bolon). Dalam perkembangan zaman ini, sebagian besar acara adat Batak Toba menyajikan konsep musik Uning-uningan dengan iringan keyboard, bahkan dalam banyak situasi, ketika terdapat keterbatasan dana di dalamnya, otomatis ada ruang yang besar bagi pemain organ tunggal untuk mengaplikasikan repertoar-repertoar musik Uning-uningan hanya dengan keyboard-nya. Hal tersebut tentunya memberikan pengaruh negatif bagi eksistensi musik tradisional Batak Toba ini. Alhasil pengaruh yang terjadi akibat budaya Barat mampu menarik minat masyarakat Batak Toba, sehingga masyarakat Batak Toba lebih menyukai konsep musik Uning-uningan dengan iringan keyboard. Oleh sebab itu, keprihatinan penulis sekaligus komposer dalam menanggapi pengaruh akulturasi terhadap eksistensi musik tradisi Batak Toba dituangkan dalam komposisi musik dengan judul “Belenggu Benalu”. Melalui komposisi musik ini penulis berharap masyarakat Batak Toba, khususnya para musisi Batak sadar dan turut berpartisipasi dalam melestarikan serta menjaga Uning-uningan dan musik tradisional Batak lainnya sebagai salah satu identitas dari keragaman seni dan budaya Indonesia. Foreign culture that enters Batak land in North Sumatera, Indonesia, has a great influence on the development of the Batak Toba music or Uning-uningan (an ensemble transformed between Gondang Hasapi consisting of Sarune Etek, Hasapi Doal, Hasapi Ende, Garantung, as well as Hesek and Gondang Sabangunan/Bolon (Taganing, Ogung (Gong), Odap, Hesek and Sarune Bolon). Nowadays, most of the traditional Batak Toba ceremonials present the concept of Uning-uningan music with keyboard accompaniment, especially in the situations that there is a budget limitation which gives a large space for single organ players (keyboardist) to apply Uning-uningan musical repertoires only with an instrument (i.e. the keyboard). This certainly gives negative influence on the existence of the Batak Toba traditional music. As a result the influence that happened because of the western culture makes the people of Batak Toba prefers the musical concept of Uning-uningan with keyboard accompaniment. Therefore, the concern of the author and composer in responding to the influence of acculturation on the existence of Batak Toba traditional music is outlined in musical composition entitled “Belenggu Benalu”. Through this music composition hopefully the people of Batak Toba, especially Batak musicians are aware and participate in preserving and maintaining Uning-uningan and other traditional Batak music as one of the identities of the Indonesian art and culture diversity.
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Watulea, Ilham. "MUSIK DALAM UPACARA ADAT POSUO." DESKOVI : Art and Design Journal 1, no. 1 (December 1, 2018): 23. http://dx.doi.org/10.51804/deskovi.v1i1.282.
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Musik merupakan salah satu aspek penting yang digunakan dalam berbagai upacara keagamaan dan budaya oleh masyarakat seperti upacara kelahiran, pernikahan, kematian dan upacara inisiasi, baik yang bersifat sakral maupun sekuler, termasuk dalam upacara adat posuo (pingitan). Upacara adat posuo yang merupakan sebuah upacara peralihan status dari wanita remaja menuju wanita dewasa pada masyarakat Tolandona-Buton Tengah. Dalam upacara ini, terdapat beberapa instrumen musik perkusi yang digunakan yang disajikan sebagai pengiring berbentuk instrumental yang dilakukan selama proses pelaksanaan upacara berlangsung. Sebagai asumsi awal adalah bahwa musik memiliki makna dan signifikansi dalam upacara ini, baik sebagai pengiring dan pembentuk ataupun pendukung suasana dalam upacara tersebut. Dalam fenomena ini, terdapat dua persoalan yang ingin dikaji yaitu pertama apa makna penyajian musik dalam pelaksanaan upacara adat posuo wolio pada masyarakat Tolandona-Buton Tengah dan kedua mengapa musik dihadirkan dalam upacara adat posuo wolio. Dalam studi ini, penulis menggunakan adalah pendekatan etnomusikologi dan cenderung pada kajian literatur dari beberapa dokumentasi dari foto dan video serta hasil penyelidikan yang pernah dilakukan. Sebagai kesimpulan bahwa musik sebagai cermin dari masyarakat memiliki hubungan dengan perilaku dan kegiatan manusia. Musik yang disajikan dalam suatu upacara keagamaan maupun upacara adat budaya memiliki signifikansi dalam pelaksanaan upacara tersebut baik sebagai pengiring atau pembentuk suasana maupun sebagai bagian dari ritual upacara tersebut. Meskipun dalam menginterpretasikan tidak terlepas dari konteks sosial budaya dan falsafah hidup masyarakat tersebut, artinya ini dapat berbeda pada setiap daerah. Bagaimana musik diperankan oleh kehidupan masyarakat serta bagaimana arti musik bagi satu masyarakat, pemahaman inilah yang mempengaruhi keberadaan dan guna musik bagi masyarakat.Music is one of the important aspects used in various religious and cultural ceremonies by the community such as birth ceremonies, marriages, deaths and initiation ceremonies, both sacred and secular, including in the Posuo (pingitan) traditional ceremony. The Posuo traditional ceremony is a transitional ceremony of status from teenage women to adult women in Tolandona - Central Buton. In this ceremony, there are several percussion musical instruments used which are presented as accompaniments in the form of instrumental performed during the process of conducting the ceremony. As the initial assumption is that music has significance in this ceremony, both as an accompanist and support the atmosphere at the ceremony. In this phenomenon, there are two problems that want to be examined, first, what is the meaning of the presentation of music in the implementation of Posuo Wolio traditional ceremonies in the Tolandona Central Buton and secondly why music is presented in the Posuo Wolio traditional ceremony. In this study, the authors used the ethnomusicology approach and tended to review the literature from some documentation of photos and videos as well as the results of investigations that had been carried out. In conclusion, music as a mirror of society has a relationship with human behavior and activities. Music presented in a religious ceremony or traditional cultural ceremony has significance in the implementation of the ceremony both as an accompanist or forming an atmosphere and as part of the ritual ceremony. Although in interpreting it is inseparable from the socio-cultural context and life philosophy of the community, this means that it can vary in each region. How music is played by people's lives and how music means to one community, this understanding influences the existence and use of music for the community.
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Perrone, Charles A. "Brazil." Popular Music 6, no. 2 (May 1987): 219–26. http://dx.doi.org/10.1017/s0261143000006000.
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With its blends of Amerindian, African and European sources, Brazil has one of the richest and most diverse musical cultures in the world. Primitive tribal musics flourish in the Amazon, rural and urban regions practise many folk/traditional forms, and cosmopolitan art music has been produced since before the time of Villa-Lobos. Various musics that can be considered popular reflect both this wide national spectrum and the impact of international mass media pop music. Here, a description of the major tendencies in contemporary urban popular music of Brazil will be followed by bibliographical and discographic indications for further study or research.
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Sani, Muhammad Budi Zakia. "MUSIK TRADISIONAL KURIDING DI DESA ULU BENTENG KECAMATAN MARABAHAN KABUPATEN BARITO KUALA: BENTUK DAN FUNGSI PERTUNJUKAN." Imaji 19, no. 2 (December 26, 2021): 183–97. http://dx.doi.org/10.21831/imaji.v19i2.44789.
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Penelitian ini bertujuan untuk mengetahui bagaimana sejarah lahir dan perkembangan Musik Tradisional Kuriding di Desa Ulu Benteng Kecamatan Marabahan Kabupaten Barito Kuala. Metode penelitian yang digunakan yaitu deskriptif kualitatif dengan instrumen yaitu peneliti, perekam suara, kamera dan video. Teknik pengumupulan data yang dilakukan adalah studi lapangan atau observasi, studi dokumentasi, dan wawancara. Analisis data menggunakan teknik deskriptif analisis dengan tahap pengumpulan data, klasifikasi, dan deskripsi data serta analisis data. Hasil penelitian menunjukan bahwa Syamsudin (Alm) adalah orang yang pertama kali memainkan atau sebagai maestro kuriding di desa tersebut, berdasarkan paparan oleh Iwie, kuriding pertama kali ia ketahui setelah ia menikah dengan Syamsuddin sekitar tahun 1930an. Perkembangan kuriding di desa Ulu Benteng tidak mengalami perkembangan. Kuriding mengalami kemunduran dan hanya ditemukan empat orang saja yang masih bisa memainkan Kuriding dengan fakta mereka tidak mampu membuat alat musik tersebut. Bentuk musik kuriding ini adalah pertunjukan yang dilakukan secara perorangan atau kelompok. Fungsi musik yang terdapat dalam musik kuriding diantara adalah sebagai sarana hiburan pribadi, sebagai sarana presentasi estetis, dan juga sebagai sarana pengikat solidaritas masyarakat.Kata Kunci : Kuriding, Musik Tradisional, Bentuk dan Fungsi PertunjukanKURIDING TRADITIONAL MUSIC IN ULU BENTENG VILLAGE, MARABAHAN DISTRICT, BARITO KUALA REGENCY: FORM AND FUNCTION OF PERFORMANCE Abstract The purpose of this study is to trace the history of Kuriding Traditional Music in Ulu Benteng Village, Marabahan District, Barito Kuala Regency. The method of study involves descriptive qualitative instruments, such as researchers, voice recorders, cameras, and videos. Field studies or observations, documentation studies, and interviews were all utilized to obtain data. Data analysis employs descriptive analytic techniques during the data collection, classification, and description stages of data collecting and analysis. The findings indicated that Syamsudin (Alm) was the first individual in the village to play or serve as a maestro of kuriding. According to Iwie, the first kuriding was known following her marriage to Syamsuddin in the 1930s. Kuriding's development in Ulu Benteng village remained stagnant. Kuriding suffered a setback when they discovered just four persons who could still play Kuriding due to their inability to manufacture the instrument. This style of kuriding music can be played solo or in groups. Kuriding music serves a variety of goals, including personal entertainment, aesthetic presentation, and community solidarity. Keywords: Kuriding, Traditional Music, Form and Functions of Performance
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Budrianto, Budrianto Budrianto, Wilma Sriwulan, and Marta Rosa. "APROPRIASI GITAR DALAM KESENIAN REJUNG PADA MASYARAKAT SUKU BASHEMAH KABUPATEN KAUR PROVINSI BENGKULU." Gorga : Jurnal Seni Rupa 7, no. 2 (October 8, 2018): 94. http://dx.doi.org/10.24114/gr.v7i2.10915.
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AbstrakPenelitian bertujuan untuk membahas peran gitar sebagai bentuk apropriasi dalam kesenian rejung pada masyarakat suku bashemah ,sekaligus bertujuan untuk menambah wawasan,mendeskripsikan dan mencari kebenaran tentang kesenian tersebut mengapa kesenian ini memakai iringan permainan gitar konvensional barat. Rejung adalah perpaduan antara sastralisan beserta iringan musik menggunakan petikan gitar. Irama-irama rejung sangatlah beragam dan khas.Sastralisan yangterkandung dalam rejung terletak pada tembang-tembangnya, berupa pantun nasehat, pesanmoral, sindiran, kisah seseorang, sebuah ungkapan perasaan antara muda-mudi dan ucapan-ucapan yang dirasakan dalam hati seperti merintih,meratapi nasib,dan menyesali hidup dengan menggunakan bahasa daerah. Gitar dalam kesenian rejung berfungsi sebagai melodi pokok sekaligus pengatur tempo. Dalam musik konvensional gitar difungsikan sebagai iringan musik modern atau musik barat. sementara berbeda halnya dengan kesenian rejung,secara musikal gitar tunduk sebagai alat musik tradisi di dalam kesenian rejung. Metodologi yang digunakan ialah metodologikualitatif dalam lingkup musik. Dengan adanya penelitian ini untuk menambah nilai historis sebuah kesenian daerah itu sendiri dan berharap menjadi suatu referensi literasi pengetahuan bagimasyarakat kabupaten kaurdan masyarakat umum. Dalam karya tulis ini disimpulkan bahwa musik rejung memiliki gaya khas musik timur dengan memakai instrumen musik barat dan memiliki ciri khas musik tradisional Indonesia. Kata Kunci : Rejung, Gitar Konvensional, Apropriasi. AbstractThe study aims to discuss the role of the guitar as a form of appropriation in the art of rejung to bashemah tribal people, as well as aiming to broaden insight, describe and seek truth about the art, why is this art using conventional Western guitar playing. Rejung is a combination of oral literature and musical accompaniment using guitar passages. The rhythm of the rejung is very diverse and distinctive. Oral literature contained in the rejung lies in the songs, in the form of rhymes of advice, moral messages, satire, the story of a person, an expression of feelings between young people and words that are felt in the heart such as moaning, lamenting fate, and regretting life by using local language. The guitar in the rejung art serves as the main melody as well as the tempo regulator. In conventional music the guitar is functioned as an accompaniment of modern music or western music. while in contrast to the rejung art, musical guitars are subject to traditional musical instruments in the art of rejung. The methodology used is a qualitative methodology in the scope of music. With the existence of this research to add the historical value of the regional art itself and hope to become a reference of knowledge literacy for the people of the district of Kaur and the general public. In this paper it was concluded that rejung music has a distinctive style of eastern music by using western music instruments and has the characteristics of traditional Indonesia music. Keywords: Rejung, conventional guitar, appropriation.
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Hadi, Sumasno. "Bibliografi Musik di Kalimantan Selataan (1978-2017)." Pelataran Seni 2, no. 1 (March 17, 2017): 37. http://dx.doi.org/10.20527/jps.v2i1.9257.
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IntisariPenelitian ini bertujuan untuk memeroleh data bibliografis tentang kesenian musik di Kalimantan Selatan. Penelitian berjenis kualitatif-deskriptif ini menggunakan metode studi kepustakaan (literature research), dilakukan selama tiga bulan dari Maret hingga Mei 2017. Sumber data berupa bahan pustaka tentang musik di Kalimantan Selatan diperoleh dari berbagai perpustakaan di Kota Banjarmasin. Selain itu, dalam pengumpulan data, peneliti juga melakukan observasi, wawancara dan studi dokumen terkait subjek penelitian ini. Keabsahan data penelitian ini diperoleh melalui perpanjangan keikutsertaan peneliti, ketekunan pengamatan, triangulasi, diskusi sejawat/pakar, serta dengan kecukupan referensial. Hasil penelitian yang diperoleh adalah tersusunnya sebuah bibliografi kesenian musik di Kalimantan Selatan dengan beberapa catatan berikut. Dalam kurun waktu hampir 40 tahun (1978—2017), tercatat sebanyak 17 terbitan dengan subjek musik di Kalimantan Selatan. Dari 15 terbitan yang dapat ditelusuri, diketahui bahwa sebagian besar masih menggarap khazanah musik tradisional di Kalimantan Selatan, seperti musik Gamelan, Panting, Kintung, dan lain-lain. Terbitan-terbitan lain yang membahas musik modern-populer belum banyak dilakukan. Selain itu, jumlah 17 terbitan dalam kurun waktu empat dasawarsa dapat dikatakan masih belum mencerminkan kondisi yang ideal dalam perkembangan ilmu musik di daerah Kalimantan Selatan. Kata kunci: bibliografi musik, musik Kalimantan, musik Kalimantan Selatan AbstractThis study aims to obtain bibliographic data about music art in South Kalimantan. This descriptive qualitative research uses literature research method, conducted for three months from March to May 2017. Sources of data in the form of library materials about music in South Kalimantan obtained from various libraries in the city of Banjarmasin. In addition, in data collection, researchers also conducted observations, interviews and document studies related to this research subject. The validity of this research data is obtained through extension of researcher's participation, observational persistence, triangulation, peer/expert discussion, and with referential adequacy. The result of the research is the compilation of a bibliography of music art in South Kalimantan with the following notes. In the period of nearly 40 years (1978-2017), there were 17 publications with the subject of music in South Kalimantan. Of the 15 publications that can be traced, it is known that most are still working on the treasures of traditional music in South Kalimantan, such as Gamelan music, Panting, Kintung, and others. Other publications that discuss modern-popular music have not been widely practiced. In addition, the number of 17 publications within a period of four decades can be said still does not reflect the ideal conditions in the development of music science in the area of South Kalimantan.Keywords: music bibliography, Kalimantan music, South Kalimantan music
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Crofts, Sarah J. "Where’s that tune?" Indexer: The International Journal of Indexing: Volume 19, Issue 3 19, no. 3 (April 1, 1995): 189–91. http://dx.doi.org/10.3828/indexer.1995.19.3.8.
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Howard, Karen. "Traditional Japanese Music in Contemporary Times." General Music Today 33, no. 3 (February 11, 2020): 52–57. http://dx.doi.org/10.1177/1048371320902753.
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Music in Japan is richly varied and includes documented genres dating back more than 1000 years. From classical court music known as gagaku, to the dramatic music plays in kabuki, to contemporary J-pop (subgenre of popular music), educators can find a sound to suit every instructional need. The focus here will be on considerations of three traditional instruments used in Japan: the koto (zither), shakuhachi (bamboo flute), and shamisen (three-stringed instrument), and a unique educational experience for those interested in studying these traditions. The learning program is offered through a koto school in Tokyo that is more than a century old, and they now offer a course in English every other summer. Also offered are suggestions for incorporating traditional Japanese music into elementary and secondary general music settings.
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Mukarom, Mukarom, and Rochsun Rochsun. "Musik Tradisional Jawa Janengan Yang Terlupakan (A Forgotten Javanese Traditional Music Janengan)." Paradigma: Jurnal Filsafat, Sains, Teknologi, dan Sosial Budaya 24, no. 2 (September 11, 2018): 9–18. http://dx.doi.org/10.33503/paradigma.v24i2.469.
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Villagers of Waringinsari, Sukoharjo sub-district, Pringsewu district, Lampung province grows and develops from voluntary migrants from Java. They are a group of marginalized people economically, politically, socially and culturally, so they expected so much when migrating to get a better life for his family. Residents who occupy Waringinsari village as the voluntary migrants are from different regions. They were farmers who had come from the felds of Java (Central, East and West) to gain ground as a new livelihood. The question is why with all kinds of differences in the Javanese sub-culture they could then dissolve together, and then they feel just as Javanese (in the sense of not distinguishing which Javanese origin). The research was carried out to get an answer whether janengan contributing music as media of entertainment, communication and propagation for villagers of voluntary migrants in the Waringinsari village, Suhoharjo Sub-district, Pringsewu district, Lampung province. This research is qualitative. The data obtained show that janengan music does really as alternative music that is able to show the identity of the people of Java. Janengan identifes the Javanese sub-culture from Kebumen which later became the common property of the voluntary migrants. They feel a sense of musical art is proven fact that until now is still a viable alternative entertainment. Janengan also contribute to the cohesiveness, and was able to eliminate the bulkhead sub-culture of their respective regions of origin. Music janengan is able to be an alternative as a cheap entertainment media, as a means of gathering spontaneous migrants thus establish communication in the period since the beginning of the village to the present, the past 60 years. In addition, the content ofthe janengan music lyric also provide a moral message that as human beings they are not arrogant, and ableto follow prophets. Janengan is able to instill the values to the younger generation so that they can becomegood human in morality as told in the poem of janengan.
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Gilbert, Lisa. "“Not just bow and string and notes”: Directors’ perspectives on community building as pedagogy in Celtic traditional music education organizations." International Journal of Music Education 36, no. 4 (July 4, 2018): 588–600. http://dx.doi.org/10.1177/0255761418774938.
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Celtic traditional musics, such as those originating in Ireland and Scotland, are typically transmitted outside formal avenues. Most studies regarding the learning of Celtic traditional music have focused on the experience of teachers and students, but less is known about the philosophies of organization directors who create contexts for teacher–student interactions. In an effort to fill this gap, this qualitative interview study examines the perspectives of nine directors of organizations located in Europe and North America dedicated to teaching Celtic traditional music. Analysis showed that directors perceived the aural transmission of the music as helping students connect with each other and build community. Further, directors’ beliefs about history tended to motivate their decision-making processes toward fostering community as part of their pedagogical practice. The learning goals they set for students tended to emphasize these intangible goals over and above technique- or repertoire-related aims, with social skills being included in their definitions of “musicianship.” Implications are raised regarding meaning-making and beliefs about history in Celtic traditional music communities.
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Whiteoak, John. "‘Jazzing’ and Australia's First Jazz Band." Popular Music 13, no. 3 (October 1994): 279–95. http://dx.doi.org/10.1017/s0261143000007200.
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A growing tendency to study Australian popular musics as an aspect of Australian cultural studies has begun to bear fruit in the form of long overdue appraisal of the socio-cultural and musical significance of these musics. Yet in our justified enthusiasm for the exciting horizons made visible by this development, it is possible to forget that music research can serve more traditional but nevertheless important functions. In the study of popular musics, in particular, knowing how music was played can be more important than knowing what piece of repertoire was performed. For example, discovering what was ‘done’ to music in performance can tell us about the sound of unrecorded genres and can facilitate (for whatever reason) the reconstructed performance of these genres. Knowing that specific performance gestures (such as ‘flattened’ or ‘blues’ notes) were applied can of course increase our understanding of the social, cultural, and even the political nature of specific musics. In this article I am mostly concerned with applying this notion of ‘doing things’ to music to the retrieval of musical information about a specific ensemble. This more or less indigenous ensemble, which was promoted in 1918 as ‘Australia's First Jazz Band’, has captured the imagination of Australian jazz writers and is widely considered to represent the beginning of Australian jazz (Bissett 1979, p. 9).
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Lam, Joseph S. C. "‘There is No Music in Chinese Music History’: Five Court Tunes from the Yuan Dynasty (AD 1271–1368)." Journal of the Royal Musical Association 119, no. 2 (1994): 165–88. http://dx.doi.org/10.1093/jrma/119.2.165.
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‘There is no music in Chinese music history.’ This paradox is often expressed by music scholars in Hong Kong, a modern metropolis in which Chinese and Western musics and music scholarship mingle and thrive. Highlighting the contrasts between traditional Chinese and contemporary Western views of music and music historiography, the paradox refers to the scholars' observation that Chinese music histories include few descriptions of actual music, and that performances of early Chinese music are often inauthentic. Published accounts of China's musical past include little hard evidence about the structure and sounds of specific musical works. Thus, the scholars argue, the accounts are more theoretical than factual, and their musical descriptions disputable. Public performances and recorded examples of early Chinese music reveal obvious use of Western tonal harmony and counterpoint, and thus cannot be authentic music from China of the past. The scholars' arguments, however, cannot refute that in Hong Kong many Chinese music masters and audiences find the so-called early Chinese music authentic and its histories credible.
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Salim, Muhammad Nur. "KREATIVITAS RAHAYU SUPANGGAH PADA FILM OPERA JAWA KARYA GARIN NUGROHO." Acintya Jurnal Penelitian Seni Budaya 12, no. 2 (December 7, 2020): 158–69. http://dx.doi.org/10.33153/acy.v12i2.3580.
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ABSTRACT One of the developments in film in Indonesia is the musical genre film. This genre film experienced a post-reform high point when Sherina's Adventure Film came. This point then became the beginning of the development of musical genre films that were born in the 2000s period. One of the interesting musical films is the Javanese Opera Film by Garin Nugroho. Opera Jawa is interesting because first, Opera Jawa has received various awards and nominations at both national and international levels. Second, because this film bases its musical work on Javanese gamelan or gamelan media. This second reason is the focus of this research. The research "Rahayu Suanggah's Creativity in Garin Nugroho's Javanese Opera Film" is an attempt to reveal one of the film music creation methodologies based on her creative process with Javanese karawitan media (gamelan music). The musical concepts of the musical that were carried by Rahayu Supanggah as the music director was revealed through Rahayu Supanggah's conceptual approach in Bothekan Karawitan Garap's book (2007). The results of this study; Rahayu Supanggah uses Javanese musical nuances in composing Javanese Opera music by involving songs that are composed in various variations such as; 1) single tembang, 2) pathetan, 3) nothing, 4) palaran, and 5) arrangement of traditional pieces while the illustration music consists of 1) New Composition, 2) Illustration of Traditional Music, 3) Exploration Music. Keywords: Creativity, Music, Javanese Opera, Rahayu Supanggah ABSTRAK Perkembangan film di Indonesia salah satunya pernah diwarnai oleh film genre musikal. Film genre ini mengalami titik puncak pasca reformasi ketika Film Petualangan Sherina hadir. Titik tersebut kemudian menjadi awal perkembangan film genre musikal yang lahir pada periode tahun 2000-an. Salah satu film musikal yang menarik adalah Film Opera Jawa karya Garin Nugroho. Opera Jawa menarik karena pertama, Opera Jawa mendapatkan berbagai penghargaan dan nominasi tingkat nasional maupun internasional. Kedua, karena film ini mendasarkan garapan musikalnya dengan media gamelan Jawa atau karawitan. Alasan kedua inilah yang menjadi fokus pada penelitian ini.Penelitian “Kreativitas Rahayu Suanggah dalam Film Opera Jawa Karya Garin Nugroho” merupakan upaya mengungkap salah satu metodologi penciptaan musik film yang mendasarkan proses kreatifnya dengan media karawitan Jawa (musik gamelan). Konsep-konsep musikal karawitan yang diusung Rahayu Supanggah sebagai music director diungkap melalui pendekatan konsep garap-nya Rahayu Supanggah dalam buku Bothekan Karawitan Garap (2007). Hasil penelitian ini; Rahayu Supanggah menggunakan nuansa karawitan Jawa dalam menggarap musik Opera Jawa dengan melibatkan tembang yang digarap dalam berbagai variasi seperti; 1) tembang tunggal, 2) pathetan, 3) ada-ada, 4) palaran dan 5) aransemen gendhing tradisi sedangkan musik ilustrasi terdiri dari 1) Komposisi Baru, 2) Ilustrasi Gending Tradisi, 3) Musik Eksplorasi.Kata Kunci: Kreativitas, Musik, Opera Jawa, Rahayu Supanggah
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van der Lee, Pedro. "Sitars and bossas: World Music influences." Popular Music 17, no. 1 (January 1998): 45–70. http://dx.doi.org/10.1017/s0261143000000489.
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Popular music is sometimes discussed from a rather ethnocentric viewpoint, lacking awareness of, or not acknowledging, influences assimilated from non-Western musics, while in the field of ethnomusicology, issues such as the preservation of traditional styles (see Baumann 1992, pp. 11–15) remain important, but there is an increased interest in the processes of change and the effects of technology (see, for example, Wallis and Malm 1984). As Western and traditional styles interact, changes occur, and as Frith puts it: ‘popular music study rests on the assumption that there is no such thing as a culturally “pure” sound’ (1989, p. 3).
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Kelley, Jamey, and Steven M. Demorest. "Music Programs in Charter and Traditional Schools." Journal of Research in Music Education 64, no. 1 (February 19, 2016): 88–107. http://dx.doi.org/10.1177/0022429416630282.
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Since the arrival of the first charter school in Minnesota in 1991, charter schools have become one of the largest movements in educational reform. In recent years, research has emerged that has compared the effectiveness of charter schools with their traditional school counterparts. The purpose of this study was to compare the extent of music offerings between charter schools and traditional public schools in the same urban district and geographic location within the city. Results indicated that while all schools in the sample offered significantly less music than national averages, significantly more charter schools offered music during the school day. Charter schools were more likely to offer traditional music (band, choir, orchestra) as electives. Schools with music programs, regardless of school type, had higher test scores and higher attendance rates even when controlling for differences in socioeconomic status between music and non music schools. Results are discussed in terms of their implications for the charter school movement, arts education policy, and suggestions for future research.
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Simbolon, Rianti, I. Nyoman Suarka, and Ni Made Wiasti. "TRANSFORMATION OF GONDANG SABANGUNAN TRADITIONAL MUSIC INTO UNING-UNINGAN MODERN MUSIC AT THE BATAK TOBA ETHNIC TRADITIONAL CEREMONY IN DENPASAR CITY." E-Journal of Cultural Studies 15, no. 3 (August 31, 2022): 36. http://dx.doi.org/10.24843/cs.2022.v15.i03.p04.
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The practice of using music at the Batak Toba ethnic traditional ceremony in Denpasar city has transformed. The transformation was from gondang sabangunan traditional music into uning-uningan modern music. Furthermore, uning-uningan modern music dominated or used more often rather than gondang sabangunan traditional music in Denpasar city. The main factor which causes this transformation is there are no artists who are able to use gondang sabangunan traditional ensemble music. The aims of this study are to know the causes of the transformation of gondang sabangunan traditional music into uning-uningan modern music, the forms of the transformation of gondang sabangunan traditional music into uning-uningan modern music, to figure out the implication of the transformation of gondang sabangunan traditional music into uning-uningan modern music.
The results showed that the transformation occurred because of the internal factors which consist of economic factors, artists’ creativity factors, the lack of understanding of the Batak Toba gondang traditional, and the lack of cultural transmission to the young generation. Otherwise, the external factors consist of globalization factors, and pop culture factors. The transformation forms of gondang sabangunan traditional music into uning-uningan modern music such as the formation transformation of music instruments, the transformation in using repertoire types, the position transformation of the musicians, the transformation of execution time, and the musician’s identity transformation. The implications of the transformation of gondang sabangun traditional music into uning-uningan modern music are the fading of gondang traditional music, switching functions into entertainment, the artists are more concerned with material, and the young generation is less familiar with gondang traditional music.
Keywords: transformation, gondang sabangunan traditional music, uning-uningan modern
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Setiyawan, Muhammad Budhi. "MUSIK TARBANG DALAM UPACARA BEPACAR MASYARAKAT TANJUNG REDEB, BERAU, KALIMANTAN TIMUR." IKONIK : Jurnal Seni dan Desain 2, no. 1 (February 14, 2020): 9. http://dx.doi.org/10.51804/ijsd.v2i1.606.
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Tarbang merupakan sebuah alat musik tradisional, sedangkan betarbang merupakan aktifitas memainkan alat musik tarbang / rebana. Ansambel musik ini masih eksis di Berau sampai saat ini. Salah satu alasan musik ini masih eksis sampai saat ini karena masih banyak upacara adat yang menggunakan alat musik ini. Salah satu contoh upacara adat yang menggunakan musik ini adalah bepacar. Tulisan ini fokus kepada pengungkapan keterkaitan antara musik tarbang dan upacara bepacar. Tarbang dimainkan oleh 4 orang menggunakan tarbang / rabana, tiap - tiap orang memiliki motif ritmis yang berbeda. Dalam upacara bepacar, tarbang digunakan sebagai media untuk berdoa. Karena sebagian masyarakat percaya bahwa melalui tarbang doa mereka bisa tersampaikan.Tarbang is a traditional music that still exist until this time in Berau East Borneo. Once reason that make this music still exist because still many activity using tarbang. For example is bepacar.Tthis text are concern to search an conection between tarbang and bepacar. Tarbang played by 4 person by using tarbang/rebbana. Each person play diferent type of rhytm. In case of bepacar, tarbang used as a way to pray. Because the civilization believe that tarbang can send their pray to their God.
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Cope, Peter. "Adult learning in traditional music." British Journal of Music Education 22, no. 2 (July 2005): 125–40. http://dx.doi.org/10.1017/s0265051705006108.
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This study is based on interviews carried out with 13 adult learners of traditional fiddle playing. The average age of the learners was 56 and they had been learning to play for between 2 and 20 years. All of the interviewees had taken music at school but none of them had been stimulated to participate further in any significant sense. The aspiration to learn to play the fiddle had various sources. Learning usually took place through traditional workshops and through the medium of the tune rather than through scales and exercises. Only one of the participants took regular conventional individualised lessons. They tended to take a pragmatic stance with regard to technique, looking for technical advice when they came up against barriers to progress. The music they played was within an aural culture and most of them learned by ear although they tended to regard notation as a useful supplement. All of them played in some sort of social context and all of them described an immense sense of pleasure and achievement from their playing. It is suggested that this kind of informal learning may have implications for learning to play instruments at school.
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Arifitama, Budi, and Ade Syahputra. "Cultural Heritage Digitalization on Traditional Sundanese Music Instrument Using Augmented Reality Markerless Marker Method." Jurnal Teknologi dan Sistem Komputer 5, no. 3 (July 31, 2017): 101–5. http://dx.doi.org/10.14710/jtsiskom.5.3.2017.101-105.
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Research into cultural heritage which implements augmented reality technology is limited. Most recent research on cultural heritage are limited on storing data and information in the form of databases, this creates a disadvantage for people who wants to see and feel at the same moment on actual cultural heritage objects. This paper, proposes a solution which could merge the existing cultural object with people using augmented reality technology. This technology would preserve traditional instrument in the form of 3D object which can be digitally protected. The result showed that the use of augmented reality on preserving cultural heritage would benefit people who try to protect their culture.
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Fikri, Ioqo Alhamra, and Ardipal Ardipal. "PERUBAHAN STRUKTUR DAN ARRANSEMEN MUSIK GAMAD DI KOTA PADANG." Gorga : Jurnal Seni Rupa 8, no. 2 (November 16, 2019): 369. http://dx.doi.org/10.24114/gr.v8i2.15279.
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AbstrakMusik Gamad merupakan sebuah kesenian khas dari kota Padang yang mana pada dasarnya secara musikologi kesenian ini masih tergolong dalam klasifikasi musik melayu namun memiliki keunikan tersendiri dikarenakan pantun-pantun yang menjadi syair lagu dinyanyikan dalam bahasa Minangkabau dan juga bersifat spontan.kesenian ini juga merupakan sebuah bentuk akulturasi dari beberapa budaya masyarakat yang ada di kota padang pada era perkembanganya hingga pada saat ini.dilatar belakangi oleh kedatangan bangsa portugis dengan budaya musik barat dengan cepat menjadi daya tarik bagi bumi putra dalam konsep bermain musik sehingga pada sebelumnya pantun hanya dinyanyikan oleh vokal dengan iringan gendang tradisional kemudian bertambah dengan alat musik seperti akordeon,biola dan gitar.musik gamad pun dengan cepat menjadi sebuah kesenain yang populer di kota padang,namun dengan seiring perkembangan zaman dan pergeseran nilai-nilai sosial yang terjadi dalam masyarakat kota padang turut mempengaruhi kesenian ini sehingga terjadilah perubahan struktur dan bentuk dalam arransemen musik gamad di kota Padang. Kata Kunci: gamad, struktur, bentuk, arransemen.AbstractGamad music is a distinctive art from the city of Padang, which is basically a musical artistry is still classified in the Malay music classification but has its own uniqueness because the poems are poetry sung in the Minangkabau language and are also spontaneous. This art is also a form acculturation of several cultural communities in the city of Padang in the era of its development until today. The background of the arrival of the Portuguese with Western music culture quickly became an attraction for the son of the earth in the concept of playing music so that in the past pantun was only sung by vocals with accompaniment traditional drum and then increased with musical instruments such as accordions, violins and guitars. Gamad music also quickly became a popular game in the city of Padang, but with the development of the times and the shifting of social values that occur in the city of Padang society also influence to this art so that there was a change in structure and shape in the gamad music arrangement in the city of Padang.Keywords: gamad, structure, shape, arrangement.
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NIEBUR, LOUIS. "‘There is Music in It, But It is Not Music’: A Reception History ofMusique Concrètein Britain." Twentieth-Century Music 15, no. 2 (June 2018): 211–30. http://dx.doi.org/10.1017/s1478572217000299.
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AbstractThe traditional narrative of the development ofmusique concrèteandelektronische Musiktells a story of esoteric, academic branches of musical modernism emerging out of Paris and Cologne in the 1950s. But this narrative clouds our understanding of the unique ways this music developed in Britain, largely filtered through the BBC, as a relatively populist, accessible iteration of Continental techniques. This article explores how British reactions to contemporary music and, in particular,musique concrèteandelektronische Musik, reflected on the one hand continued suspicion towards Continental music and on the other a deep insecurity about Britain's musical position in the world. The predominantly hostile attitude towards electronic music from within establishment musical cultures betray profound concerns about trends that were seen to exert a harmful influence on British musical society.
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David, David, Andiny Rucitra, Fibriyenti Fibriyenti, and Anthonio Anthonio. "Aplikasi Edukasi “Music Traditional Arcade” Berbasis Android." ComTech: Computer, Mathematics and Engineering Applications 5, no. 2 (December 1, 2014): 1134. http://dx.doi.org/10.21512/comtech.v5i2.2431.
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The purpose of this study is to assist the government in introducing traditional music instruments in Indonesia to the community, especially teenagers aged from 16-20 years. Given increasingly in modern era makes people start to forget traditional music instruments and prefers modern music instruments. The method used in this research is literature study, observation, application design, and application testing that has been made. Result obtained from this study is an application that can meet the objectives of the study. The conclusion of this study is that the application gave elements and information about some traditional music instruments in interesting ways through mobile app game followed with attractive appearance and could be one way of helping the government to preserve traditional music instruments and provide insight into knowledge through the history of the instrument.
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Murniati, Murniati. "Dekonstruksi Estetika dan Makna Musik Gamat di Sawahlunto, Sumatera Barat." Resital: Jurnal Seni Pertunjukan 16, no. 1 (February 17, 2016): 25–35. http://dx.doi.org/10.24821/resital.v16i1.1272.
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Keberagaman budaya masyarakat lokal terlihat dari kekayaan ekspresi seni budaya masyarakat,di antaranya terdapat pada musik gamat. Tulisan ini melihat dekonstruksi estetika dan makna darifenomena perubahan bentuk dan struktur sajian musik gamat di masyarakat. Untuk membahasnyadigunakan teori dekonstruksi dan estetika dengan metode kualitatif. Dekonstruksi estetika musikgamat merupakan bentuk baru dari unsur tradisi dan modern, terdiri atas struktur yang saling terkaitdan membentuk sebuah sistem. Berdasarkan bentuknya, struktur ketradisian musik gamat mengalamipercampuran pada idiom instrumen, tangga nada, struktur permainan dan peran musisi, strukturlagu-lagu, serta konteks dan waktu pertunjukan. Berdasarkan penelitian disimpulkan bahwa estetikakeberagaman terwujud dari rasa saling menerima antarbudaya yang berbeda dalam pertunjukanmusik gamat. Dekonstruksi estetika musik gamat mengandung makna makna pembauran, kreativitasdan ekspresi serta estetika multikultural.Deconstruction of Aesthetics and Meaning of Gamat Music in Sawahlunto, West Sumatra.The variety of local social culture can be seen in the richness of cultural artistic expression, among others is inGamat music. This study deconstructs the aesthetics and meaning of the phenomena of the changes in formand structure toward the presentation of Gamat music in that society. For this purpose the deconstructionaland aesthetic theory are used with qualitative method. The deconstruction of the aesthetics of Gamat musicrepresents a new form from the traditional and modern element. It consists of interrelated structure andforms a system. Seen from its form, the structure of the tradition of Gamat music undergoes the mixture ofinstrumental idiom, the scale, the structure of performance and the role of musicians, the structure of thepieces as well as the context and time of performance. From the research results, it may be concluded thatthe aesthetics of diversity is formed from the sense of mutual acceptance towards different cultures in theperformance of Gamat music. The deconstruction of the aesthetics of Gamat music embodies the meanings of social integration, creativity and expresssion, and multicultural aesthetics as well.
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Istiningsih, Tri. "TERAPI MUSIK TRADISIONAL UNTUK MENINGKATKAN KONSENTRASI, KEMANDIRIAN DAN HASIL BELAJAR SISWA ABK KELAS IV SDN INKLUSI SUMBERSARI I MALANG." Jurnal Pemikiran dan Pengembangan Sekolah Dasar (JP2SD) 1, no. 3 (March 1, 2016): 225. http://dx.doi.org/10.22219/jp2sd.v1i3.2728.
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Abstract: This study are to describe the use and application of traditional music therapy in improving concentration, Independence, and Learning Outcomes in the fourth grade students ABK of SDN Sumbersari 1 Malang. This study used a qualitative approach. This research is Classroom Action Research (CAR). The subjects of this study were fourth grade students ABK at SDN Sumbersari 1 year 2012/2013 Malang. The results of this study indicate that traditional music therapy can improve concentration, independence and learning outcomes ABK fourth grade students at SDN Sumbersari 1 Malang. This is evidenced by the results of observations made during the month of January to May and the final results obtained by the percentage increase in the concentration rose between 33 % to 47 % and increased independence increased by 23 % to 39 %. This resulted in an increase in the value of learning outcomes. Activities, especially playing traditional music gamelan and angklung, teaching and learning activities in the fourth grade students of SDN Inclusion unfortunate Sumbersari I looked more effective and fun.Abstrak: Penelitian ini bertujuan untuk mendeskripsikan penggunaan dan penerapan terapi music tradisional dalam meningkatkan Konsentrasi, Kemandirian, dan Hasil Belajar siswa ABK di kelas IV SDN Sumbersari 1 Malang. Penelitian ini menggunakan pendekatan kualitatif. Jenis penelitian ini adalah Penelitian Tindakan Kelas (PTK). Subyek penelitian ini adalah siswa ABK kelas IV SDN Sumbersari 1 tahun 2012/2013 Malang. Hasil penelitian ini menunjukkan bahwa terapi musik tradisional dapat meningkatkan konsentrasi, kemandirian dan hasil belajar siswa ABK kelas IV SDN Sumbersari 1 Malang. Hal ini terbukti dengan hasil pengamatan yang dilakukan selama bulan Januari sampai Mei dan hasil akhir yang diperoleh peningkatan prosentase konsentrasi naik antara 33% sd 47% dan peningkatan kemandirian naik 23% sd 39%. Hal ini berdampak pada peningkatan nilai hasil belajar. Kegiatan bermain musik tradisional khususnya gamelan dan angklung , kegiatan belajar mengajar pada siswa kelas IV SDN Inklusi Sumbersari I malang tampak semakin efektif dan menyenang. Kata Kunci: Musik tradisional, konsentrasi,kemandirian, hasil belajar, siswa ABK
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Ramadina, Dini Dwi Dista, Rosyid Al Atok, and Didik Sukriono. "Menumbuhkan nasionalisme di kalangan remaja kelompok seni musik Patrol Perkusi Bendho Agung di Desa Gadungsari Kecamatan Tirtoyudo Kabupaten Malang." Jurnal Integrasi dan Harmoni Inovatif Ilmu-Ilmu Sosial 1, no. 2 (February 28, 2021): 182–93. http://dx.doi.org/10.17977/um063v1i2p182-193.
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This study aims to describe how to grow an attitude of nationalism, the appearance of nationalism, obstacles in developing nationalism, and those efforts are made to overcome obstacles to developing nationalism among youths Bendho Agung Percussion Patrol Music Art Group. This study uses a qualitative approach with descriptive research type. Data collection was carried out by means of observation, interviews, and documentation study. Data analysis using interactive analysis. Checking the validity of the data using triangulation techniques. how to grow an attitude of nationalism among adolescents with doing various activities includes of dancing traditional dances and playing traditional percussion patrol instruments such as kenong, saron, tambourine, drums, plastic drum, iron drum, gong and all members should to memorize the national song and folk songs. The appearance of nationalism is that the members t-shirts have nuances or patterns of batik and it doesn’t have feeling inferior or inferiority when playing traditional musical instruments and dancing traditional dances. The develeoping nationalism among youths is also inseparable from the obstacles when realizing nationalism among youths Bendho Agung Percussion Patrol Music Art Group, these obstacles are the include the time clashes between school time and the time of the event and the lack of dance costumes of Bendho Agung Percussion Patrol Music Art Group. In overcoming these obstacles the Bendho Agung Percussion Patrol Music Art Group makes efforts to overcome them by giving permission to schools and borrow or rent dance costumes in an art studio Turen.
Kajian ini bertujuan mendiskripsikan cara menumbuhkan nasionalisme, bentuk perwujudan nasionalisme, kendala yang dihadapi dalam menerapkan nasionalisme, dan solusi dalam menghadapi kendala penerapan nasionalisme di kalangan remaja Kelompok Seni Musik Patrol Perkusi Bendho Agung. Kajian ini menggunakan pendekatan kualitatif dengan jenis penelitian deskriptif. Pengumpulan data dilakukan dengan cara observasi, wawancara, dan studi dokumentasi. Analisis data menggunakan analisis interaktif. Pengecekan keabsahan data menggunakan triangulasi sumber. Cara menumbuhkan sikap nasionalisme di kalangan remaja diantaranya melalui kegiatan menari tari tradisional, bermain alat musik tradisional patrol perkusi seperti kenong, dig dug, saron, rebana, kendang, drum plastik, drum besi, gong dan mewajibkan seluruh anggota untuk hafal lagu nasional dan lagu-lagu daerah. Bentuk perwujudan nasionalisme diantaranya kaos anggota ada nuansa atau corak batik dan tidak ada rasa minder atau rendah diri ketika bermain alat musik tradisional dan menari tarian tradisional. Dalam menumbuhkan nasionalisme di kalangan remaja tidak lepas dari kendala-kendala yang muncul saat mewujudkan nasionalme di kalangan renaja Kelompok Seni Musik Patrol Perkusi Bendho Agung, kendala tersebut yaitu waktu yang bentrok antara waktu sekolah dengan waktu event dan kurangnya kostum tari yang dimiliki Kelompok Seni Musik Patrol Perkusi Bendho Agung. Dalam mengatasi kendala-kendala tersebut, Kelompok Seni Musik Patrol Perkusi Bendho Agung melakukan upaya-upaya dalam mengatasinya dengan cara memberian surat izin ke sekolah dan meminjam atau menyewa kostum tari di sanggar seni Turen.