Lagu Melayu Populer Deli, Minangkabau Dan Minahasa: Kajian Fungsi Sosial Dan Diseminasi

Punahnya seni tradisi dalam era transformasi budaya agraris masyarakat Melayu ke modern industrial umumnya diakibatkan oleh perubahan gaya hidup yang kapitalistik. Untuk itu perlu dibangunkan tamadun khalayak Melayu yang modern tetapi berlandaskan budaya tradisi leluhur. Dalam kondisi yang demikian itu diperlukan sebuah pemikiran yang filosofis tentang penyelamatan tamadun tradisional Lagu Melayu Populer. Nyanyian adalah suatu bentuk ekspresi personal dan budaya yang terdapat didalam bidang musik. Sebagai teks sejarah dan sosial, karya-karya musik dan nyanyian menggunakan berbagai-bagai isyarat dan simbol tradisional yang bersifat alternatif seperti yang diperdengarkan atau dimainkan. Melalui nyanyian, kita dapat mengapresiasi dan memahami keragaman khazanah budaya nusantara dan budaya negara lainnya. Secara tidak langsung juga, melalui nyanyian kita dapat memahami jatidiri kita sebagai makhluk yang merupakan sebagian dari alam semesta yang luas. Buku Ajar ini dibuat disebabkan pada umumnya timbul kehendak untuk memahami budaya musikal dan nyanyian nusantara, dan secara khusus terhadap Lagu Melayu Populer sebagai khazanah budaya serumpun Melayu. Lagu Melayu Populer dipilih sebagai aspek utama penelitian kerana genre ini telah menjadi warisan (cultural histories) bagi bangsa Melayu serumpun beserta sejarahnya yang tersendiri. Buku Ajar ini berkenaan dengan Lagu Melayu Populer dan transmisi di dalam lembaga pendidikan formal

GAMBUS SEBAGAI SALAH SATU EKSPRESI MUSIK RAKYAT MELAYU Dl SUMATRA UTARA Kajian Perubahan dan Kontinuitas (Gambus as a Expression of Malay FolkMusic in North Sumatera Change and Continuity)

ABSTRACT The dissemination of a musical genre so-called "the gambus" that reached out to the Malay countries around the Straits of Malacca reflects the close relationship between Islam and Malay people. It was supposed that the genre can only be found in Malay countries that formerly had a close contact with the Middle East. It was the perceiving of Islam as the sole system of belief in Malay societies and use of the Malay language as the lingua franca, has the common aristocratic background of the ruling class, and the shared conceptual world of alam Melayu as a common world-view. That made the genre shared a possible similarities in style among Malays in Sumatra and the Malay Peninsular. The development process of the Medan city reflects the societal dyna¬mism for modernization. Change of the folk-art such as gambus to became a contemporary-art was a changed that was experienced by societies them¬selves, from traditional society became cosmopolitan society (urban) which is multiracial. Popular media as the bangsawan theatre, film (cinema), radio, and television began growing up and have the significant role as the source of the entertainment for society members, to able to function for the spread of the cultural elements. Key word: gambus - a musical genre - Malay and Isla

The Javanese Panji Story: Cosmic Tales and Its Transformations

This paper studies descriptively several versions of Javanese Panji Story with its transformation and dissemination into the performing arts found in Southeast Asia. Accordingly, there are versions varied not only in terms of its stories, locations, events, and the style of its narratives, but also the flow of the stories. So many other versions have not been described here in this paper just to imagine how this 13th century Javanese literature has turned out to become so many versions. Moreover, the story has spread out not only in Indonesia but also through out the Southeast Asian archipelago. The writer found that authenticity is not the concern because the original version of the Panji Story was not existed and thus versions can be in so many forms. However, what was overwhelming is that the story had been transformed into so many genres of performing arts in Southeast Asia, such as in Indonesia, Thailand, Cambodia and Myanmar, the former state of Burma. The study found that the performing styles of Panji or Inou in Indonesia, Thailand, Cambodia and Myanmar shared the same styles as typical classical dance of Royal Palace that performed high standards of performances such as glorifying model of costumes and accompanied by aesthetically qualified Royal Palace Music Ensembles. Key words: Panji Story, Transformation, Performing Art

Hak Kekayaan Intelektual (HKI) atas artikel berjudul:Haydn’s Oratorio “The Creation” Revival

SURAT PENCATATAN CIPTAAN Dalam rangka pelindungan ciptaan di bidang ilmu pengetahuan, seni dan sastra berdasarkan Undang-Undang Nomor 28 Tahun 2014 tentang Hak Cipta, dengan ini menerangkan: Nomor dan tanggal permohonan : EC00202128549, 18 Juni 202

Early Acceptance Of Western Music In Indonesia And Japan

SURAT PENCATATAN CIPTAAN Dalam rangka pelindungan ciptaan di bidang ilmu pengetahuan, seni dan sastra berdasarkan Undang-Undang Nomor 28 Tahun 2014 tentang Hak Cipta, dengan ini menerangkan: Nomor dan tanggal permohonan : EC00202128551, 18 Juni 202

IoT, Seni Digital dan Masa Depan Seni ‘Tradisional’

Revolusi IoT bermula dengan diketemukannya perangkat-perangkat lunak seperti teknologi sensor, fiber optic, sesuatu yang cerdas (smart things), nanoteknologi dan miniaturisasi. Sedangkan konsep yang melatarbelakangi revolusi di bidang IoT (sering disebut Revolusi 4.0) adalah karena dipengaruhi oleh perkembangan yang cepat dan dahsyat di bidang komputerisasi serta jaringan (network) yang tak nampak tapi ada di mana-mana (ubiquity) dan perkembangan generasi masa depan Internet. Bila semua itu kita hubungkan dengan emosi kita, apakah implikasinya? Pertama, tidak pernah seperti sebelumnya bahwa emosi kita sangat terikat dengan perangkat gadget dan keharusan ketersediaan jaringan baik berupa kuota mau pun wifi. Kita semua mungkin pernah mengalami berbagai pengalaman emosional terhadap komputer, tablet atau HP kita masing-masing. Berarti emosi kita sudah masuk ke dalam dunia matrik. Kalau kita bermain game 3D misalnya, kadang kita merasa seperti eksis di dunia itu. Berarti emosi kita sudah masuk ke dalam dunia virtual

Lagu Dolanan dalam Permainan Tradisional sebagai Strategi Inovasi Pendidikan Sendratasik

Dolanan songs in traditional games as an innovation strategy for the art education of drama, dance, and music. This research focuses on constructing alternative learning in an innovation strategy of art education of drama, dance, and music through dolanan songs in traditional children's games. Alternative strategies are needed in providing diversification of learning because the problem that occurs in the art education of drama, dance, and music is the existence of cultural conflicts that impact the stagnation of the learning model. The choice of the dolanan song is due to its meaning and philosophy, which have aesthetic value in aspects of motion, drama, and music with the ability to adapt to the dynamics of science and technology. A library method is an approach used to construct an innovation strategy from the meaning contained in the text of children's traditional game songs. They implicitly have imaginative factors, particular messages, and aesthetic elements. Therefore, they can be relevant to the social conditions of society in the new cultural order. Based on the elaboration done in the study, three strategies are found which can answer the research problems, and are used in developing the art education of drama, dance, and music. They are as follows: firstly, the strategy of revitalizing the dolanan song in traditional children's games; secondly, the art education of drama, dance, and music is an appreciation education about aesthetic meaning; and thirdly, the formal transmission strategy of traditional transmission children's games through schools

Cross Culture and Gamelan Studies in Japan

Cultural phenomenon of the gamelan dissemination to the world outside Java, Indonesia, seems like the early Western music dissemination to the outside Western culture. Perhaps it brought some wonders, excitements, and the needs to imitate that followed by the creative process for making the something new, something that might be suitable for their own musical language or expression. Historically speaking, the early Western music dissemination and cultivation in Indonesia was happened in the 16th century (1512) that was brought mostly by the Portuguese missionaries and merchants.1 In 1535, most of the children in the collegio of Teranate islands (established by Antonio Galvao) already sung the Gregorian songs in Latin or Portuguese languages. And the local people had also been introduced to the guitar and the violin that in the future had become the importance musical instruments of their folk songs. These can be found until recently to the whole Maluku islands and the areas of Flores. Meanwhile, the Portuguese missionaries came to Japan in 1543 and the dissemination and cultivation of Western music and Catholicism developed more profoundly that the area of Hirado had been called as ‘a little Rome’. The local people not only imitated how to play the organ but also had produced the instrument at later on. The remains of the Gregorian songs can still be found in what so-called ‘Uta-Orashio’

Intercultural Art Education: In Search for the Philosophy of Art Education in Indonesia (Inquiring ISI’s Role in the Globalization Era)

Intercultural arts can be defined as arts in cultural societies regardless its background identity whether it is occidental and or oriental. It is a culture as a global entity and the differential to other cultures can only enrich the people cultures of the world. In this point of view, there is no one culture that is dominant to another cultures, as well as that there is no superior and vise versa inferior in a culture of the whole world societies. It means that even a culture that is live and practice by an aborigine society cannot be exterminated as a backward culture to be compared to a township and or marginal and even metropolitan society. For an aborigine society, a culture is their life itself and thus cannot be separated as an element that can be easily evaluated as a primitive culture. The use of communication apparatus however primitive is as useful and effective for the aboriginal people as well as their natural knowledge in their daily life. To judge that they are backward and primitive if only because of secular and secondary elements like the way of wearing, eating, communicating, music and arts making, etc. is not justify for those things cannot be compared at all. It means that they have their own beliefs and those secondary things are regarded by them as outer fashions. They have their own inner life that is as complicated as the “cultured” people have

Diskursus Musik Dalam Pendidikan

Saya menyambut gembira penerbitan buku Diskursus Musik dalam Pendidikan ini yang memang amat dibutuhkan sebagai buku ajar bagi para mahasiswa musik maupun referensi bagi para peneliti musik. Pendidikan musik telah berkembang dengan pesat sejak masa kemerdekaan dari awalnya berupa proses pembelajaran secara informal maupun non-formal akhirnya turut tersaji pada jalur pendidikan formal. Pembelajaran musik yang asal mulanya ditekuni pada jenjang pendidikan menengah telah merambah ke jenjang pendidikan tinggi. Silabus musik tidak sekedar menjadi muatan kurikulum seni melainkan juga kurikulum pendidikan. Dapat dikatakan bahwa musik telah menjadi topik diskursus yang diminati khalayak akademik secara kelembagaan maupun kemasyarakatan. Akan tetapi arti penting fungsi dan peranan musik dalam perkembangannya tidak diimbangi dengan ketersediaan literatur yang memadai guna membahas berbagai wacana musikal. Ekspansi kuantitas disertasi kajian sosial budaya yang meneliti tentang musik, bahkan tidak berimbas pada maraknya penerbitan buku-buku musik berbahasa Indonesia. Itu sebabnya di tengah situasi kelangkaan tersebut kehadiran buku ini telah lama dinanti-nanti, fenomena yang patut disyukuri bagaikan fatamorgana yang nyata ditengah hamparan padang pasir. Mengamati isi buku ini akan didapati bahwa spektrum musikal yang dibahas sangatlah komprehensif terutama dalam perspektif pemanfaatan dan pemberdayaan diseminasi musik Barat di Indonesia sejak masa pelayaran Jalur Sutra Maritim. Pemanfaatannya melalui inkulturasi musik Barat ke dalam format musik untuk ibadah keagamaan, musik yang populer di tengah masyarakat, dan musik pendidikan yang diajarkan di sekolah. Adapun pemberdayaannya dilakukan melalui upaya konservasi dan apropriasi musik tradisi etnik Nusantara menurut metodologi dan teknologi Barat. Berbagai wacana yang dipaparkan dalam buku ini bahkan telah teruji melalui eksekusi terhadap wawasan ranah budaya dan kearifan yang dimiliki bangsa-bangsa di Asia secara fundamental termasuk Indonesia. Tidaklah diragukan bahwa buku yang disusun sebagai hasil penelitian selama bertahun-tahun ini akan memberikan pemahaman yang mendalam terhadap konstelasi musik untuk dunia pendidikan, serta mampu menimbulkan inspirasi yang inovatif bagi para pendidik, penyaji, dan peneliti musik. Vivat Profesores.Victor Gana