BAGHAYUN BALAM REPRESENTASI DARI LAGU ANAK BALAM DI NAGARI KOTO TARATAK PESISIR SELATAN

The composition "Baghayun Balam" is a composition that departs from the tradition of the traditional song "anak balam" which is found in Nagari Koto Taratak, Sutera District, Pesisir Selatan Regency. In the beginning, this song was used in the ritual treatment of sick people, due to the influence of jinn and demons brought by other people such as witchcraft. Today the song "anak balam" has entered the realm of the rabab pasisia performing arts accompanied by the rabab pasisia and gandang oyak instruments. the song "anak balam" is usually sung in pairs (male and female) with verses that tell about the existence of subtle people in a continuous way that has a real sequence game technique, namely focusing on repetition or repetition by moving the basic tone from low to high and then back to reshape. The song "anak balam" became an inspiration for the artist to serve as material in creating a new piece of musical composition entitled "Baghayun Balam" which was worked on using a Tradition approach by Waridi who stated that the Traditional Approach is a process of creation that uses traditional idioms. which originates from Javanese karawitan without losing its original tradition. This work consists of three parts, namely the beginning, the middle, and the end which are intended to contribute to the development of traditional art so that its sustainability is maintained so that it can adapt and develop according to the mindset of the supporting communit

Senandung Ngalun Sebagai Interpretasi terhadap Kesenian Senandung Jolo di Kumpe Ilir Muaro Jambi

Senandung Jolo merupakan salah satu kesenian tradisi yang berasal dari Kelurahan Tanjung Kecamatan Kumpe Ilir Kabupaten Muaro Jambi Provinsi Jambi. Senandung merupakan suatu nyanyian, sedangkan jolo merupakan pantun, jadi senandung jolo merupakan nyanyian yang berbentuk pantun. Pantun yang dibawakan secara spontan dalam bentuk  berbalas-balasan. Senandung Jolo pada prinsipnya nyanyian ungkapan perasaan yang ditujukan terhadap orang yang disukai, dikagumi bahkan dicintai. Di dalam kesenian Senandung Jolo banyak keunikan yang dijumpai yaitu terdapat irama naik dan turun yang bercengkok melayu, sebagaimana masyarakat setempat menyebutnya Ngalun. Selain itu terdapat struktur permainan yang kotak-kotak, namun tetap menghasilkan sebuah sajian pertunjukan yang menarik, dan menjadi inspirasi untuk diwujudkan dalam bentuk karya musik baru yang berjudul Senandung Ngalun. Karya Musik Senandung Ngalun menggunakan metode garap pendekatan tradisi, dimana pengga­rapannya masih tetap mempertimbangkan nilai dan karakter musikalnya tradisi, serta menghadirkan konsep garapan kesenian senandung jolo yang diselingi dengan unsur teaterikal dalam bentuk berbalas pantun yang berisi nasehat kepada muda mudi, sehingga karya yang dihasilkan tetap menyajikan bentuk dan nilai nilai ketradisiannya, meski telah digarap dalam bentuk inovasi baru.Kata Kunci: Senandung Ngalun; Pantun; Nyanyian: Senandung Jolo; Muaro Jambi ABSTRACTSenandung Jolo is one of the traditional arts originating from Tanjung Village, Kumpe Ilir District, Muaro Jambi Regency, Jambi Province. Senandung is a song, while jolo is a rhyme, so humming jolo is a song in the form of a rhyme. Poems that are sung spontaneously in the form of reciprocation. Senandung Jolo, in principle, is a song that expresses feelings aimed at people who are liked, admired and even loved. In the art of Senandung Jolo, there are many unique things that are found, namely there is a rising and falling rhythm that bends with Malay, as local people call it Ngalun. In addition, there is a game structure that is checkered, but still produces an interesting performance presentation, and becomes an inspiration to be realized in the form of a new musical work entitled Senandung Ngalun. Musical work Senandung Ngalun uses a traditional approach to work on the method, where the work still takes into account the values and musical character of the tradition, as well as presents the concept of the art of singing the jolo interspersed with theatrical elements in the form of reciprocated rhymes containing advice to young people, so that the resulting work continues to present the forms and values of its traditions, even though it has been worked on in the form of new innovations.Keywords: Singing Ngalun; Pantun; Singing Jolo; Muaro Jamb

IMBAUAN RABAB PASISISA SEBAGAI SUMBER PENCIPTAAN KOMPOSISI GITIAK MAMBAO RASO

Penciptaan komposisi pada masa lalu sering dilakukan secara kolektif dan ditujukan untuk kepentingan bersama dalam satu masyarakat atau komunitas.Seiring dengan perkembangan zaman penciptaan komposisi karawitan telah menghadirkan keberadaan musik tradisi yang ada sebagai sumber penciptaan. “Gitiak Mambao Raso” merupakan karya komposisi baru yang berangkat dari motif-motif imbauan Rabab Pasisia yang memakai nada Le (6/). Dalam penggarapan komposisi “Gitiak Mambao Raso” terjadi exsplorasi terhadap musik tradisi, denga melakukan pengolahan menjadi tekhnik-tekhnik musik konvensional dan penggabungan pengolahan sumber tradisi baik secara lebih leluasa terjadi pengolahan terhadap materi musikal Imbauan Rabab Pasisia, baik melalui pengembangan bunyi, tempo terikat dengan sumber tradisi

Pengaruh Jumlah Konsentrasi Larutan Garam Pada Proses Quenching Baja Karbon Sedang S45C

Quenching is heat treatment process to increase the hardness and strength of steel. Important factors in the quenching include design of the equipment, type of coolant, coolant concentration, bath temperature, and motion rate during cooling. There are several types of cooling media that can be used in the quenching including water and oil. This study discusses the influence of dissolved salt concentration as a coolant in the quenching of S45C steel. The concentration of salt solution made variation between 0% to 25% by volume solution of 10 liters each. Quenching starts from the heating of steel in the furnace up to the austenitizing temperature and held at that temperature for 30 minutes followed by rapid cooling. Salinity in quenching media greatly influence the value of tensile strength and the hardness of steel. The higher salinity will decrease tensile strength and ductility. The higher salinity can accelerate the cooling process, evidenced by the emergence of a growing martensitic structure and refined at the higher salinity. Steel hardness will increase with increasing salinity

APLIKASI PAKAN PELET BUATAN UNTUK PENINGKATAN PRODUKTIVITAS BUDIDAYA IKAN AIR TAWAR

This activity aims to provide guidance, training, and mentoring to help resolve problems faced by partners, including high operational costs of fish farming because of the high cost of factory-made pellets, limited understanding and knowledge of fish farming techniques, and limited access to business capital in groups of freshwater fish farming in village of Jerukagung Srumbung Magelang. In this activity, the use of semi-intensive farming technology was introduced and the introduction of mixer and fish pellet feed making machines technology were able to produce pellets independently for groups of fish farmers. Semi-intensive system farming techniques are proven to be able to increase productivity at a low cost to replace the conventional methods that have been done so far. The service program was completed in eight months, divided into three stages consisting of competency enhancement, technology development, and partnership development. The use of semi-intensive farming technology by applying good pond water maintenance techniques, selecting the right seeds, and optimal feeding techniques has been shown to increase fish production. High feed costs during the enlargement process which can reach 75% of the total cost can be replaced using pellet feed has made by group using local raw materials that are easily available in the surrounding area or environment, so as to reduce feed costs by up to 25%

PESIJUEK SEBAGAI MEDIA DAKWAH DI ACEH

Budaya Peusijuek dalam masyarakat Aceh telah menjadi suatu amalan yang turun temurun dan tidak mungkin terhapus, bahkan senantiasa mengiringi setiap upacara, apakah sosio-budaya, sosio-kemasyarakatan maupun sosio-keagamaan. Contohnya orang yang melakukan ibadah haji juga tidak terlepas dari upacara peusijuek bahkan ketika pulang melaksanakan ibadah haji juga disambut dengan upacara peusijuek. Upacara peusijuek yang dilakukan masyarakat Aceh disesuaikan dengan tuntutan adat masing-masing daerah, masyarakat mempercayai bahwa jika segala sesuatu tanpa dibarengi dengan peusijuek, maka sesuatu yang buruk akan terjadi nantinya, peusijuek menjadi hal yang sangat bermakna dan sangat sakral bagi masyarakat Aceh dan diyakini sebagai ritual yang berkaitan dengan keagamaan, sehingga peusijuek menjadi budaya yang sangat sukar untuk dipisahkan dari masyarakat Aceh pada umumnya. Sebagaimana yang kita lihat sekarang yang berkembang di dalam masyarakat, peusijuek adalah suatu budaya yang tidak boleh ditinggalkan oleh masyarakat, khususnya kalangan awam, sebagaimana kita ketahui bahwa budaya peusijuek selain dipraktikkan oleh masyarakat Aceh yang khas budaya keislamannya, budaya ini juga dilakukan oleh masyarakat di luar Aceh salah satunya Hindu. Dan orang yang melakukan peusijuek bukan hanya kalangan awam tetapi juga tokoh agama, cendikiawan, dan ulama-ulama juga ikut melakukannya. Ajaran Islam konsepsi yang sempurna dan komprehensif, karena ia meliputi segala aspek kehidupan yang sempurna yang meliputi segala aspek kehidupan manusia, baik yang bersifat duniawi maupun ukhrawi. Sedangkan aspek sosiologi, Islam merupakan fenomena peradaban, kultural, dan realitas sosial dalam kehidupan manusia. Salah satu aktivitas keagamaan yang secara langsung digunakan untuk mensosialisasikan ajaran Islam bagi penganutnya dan umad manusia pada umumnya adalah aktivitas dakwah. Aktivitas ini dilakukan baik melalui lisan, tulisan, maupun perbuatan nyata

Gandang Tasa: The King of Processional Music in Minangkabau

Gandang tasa is a genre of traditional percussion music that continues to dominate various traditional and religious processions in Minangkabau, West Sumatra. Its musical power rests only on the performance of the rhythmic patterns of the gendang and tasa, which are played simultaneously and in an impulsive manner. The music is loud, energetic, and played in an open arena, either in the form of a procession or in an outdoor performance. The goal of this article is to discuss the dominant role of gandang tasa in various traditional and religious ritual processions in the Minangkabau community. The research method is a case study which focuses on the presence of gandang tasa in various ritual processions. The research results show that the loud, energetic character of the music, and the musical power of the rhythmic patterns played by the gandang tasa have led this music to dominate traditional and religious ritual processions in Minangkabau. Keywords: gandang tasa, king of processional music, energetic, Minangkabau DOI: 10.7176/ADS/83-02 Publication date:July 31st 202