Keanekaragaman Tumbuhan Vegetasi Hutan Mangrove Di Tumbu-tumbu, Lampeapi Dan Wungkolo, Pulau Wawonii, Sulawesi Tenggara [Plant Diversity of Mangrove Forest Vegetation in Tumbu-tumbu, Lampeapi and Wungkolo, Wawonii Island, South East Sulawesi]

Fifty four species belong to 32 families and 46 genera were recorded in mangrove areas of Tumbu-tumbu, Lampeapi and Wungkolo(Wawonii Island, South East Sulawesi). Twenty four of them included in the IUCN (Anonim, 1997) list. The richest species diversity found in Lampeapi (48 species) followed by Tumbu-tumbu (39 spesies) and Wungkolo (29 species).The dominant species of those areas were Rhizophora apiculata, R. mucronata and Bruguiera gymnorrhiza.The total average density of three was 268–742 individu/ha, with basal area 16.14–28.99 m 2/ha, sapling plant was 66–317 indv./ha will basal area 0.38–0.92 m /ha and seedling plant was 88,13 –146,66 individu/ ha

KERAGAMAN PEKINGAN GAYA YOGYAKARTA: TINJAUAN GARAP DAN TEKNIK TABUHAN

Keragaman pekingan di dalam seni karawitan gaya Yogyakarta pada irama yang sudah mapan (dados), yaitu: irama II atau dados, irama III atau wiled, dan irama IV atau rangkep. Penggunaan metode penelitian deskriptif analisis kualitatif ini untuk menjelaskan peking dan pekingan dan keragamannya. Adanya keragaman pekingan ini merupakan sebab-akibat tidak terealisasikan adanya upaya hasil kesepakatan pekingan pada sarasehan tahun 1985-1986 secara menyeluruh di DIY. Penelitian ini terfokus pada pekingan yang disajikan pada pertunjukan seni karawitan gaya Yogyakarta di dalam Uyon-Uyon Adiluhung KHP Kridhamardawa Keraton Yogyakarta, SMKI Yogyakarta, ISI Yogyakarta, dan AKNSB Yogyakarta. Keragaman pekingan ini memberikan kekayaan di dalam garap seni karawitan gaya Yogyakarta. Identitas yang digunakan yaitu “pekingan ndhisiki tabuhan balungan gending”, baik di dalam gending garap soran, bedhayan, maupun lirihan. Terkesan ada dua pola garap pekingan, yaitu: pola pekingan lamba dan rangkep. Hal ini tidak bisa disalahkan maupun dibenarkan salah satunya, yang ada hanyalah enak atau tidak enak untuk didengarkan maupun dinikmati musikalnya.YOGYAKARTA'S DIVERSITY OF PEKINGAN STYLES: AN OVERVIEW OF TABHAN'S WORK AND TECHNIQUESThis study discusses the diversity of Pekingan in Yogyakarta-style musical art on established rhythms (dados), namely: rhythm II or dados, rhythm III or wiled, and rhythm IV or rangkep. The use of this qualitative analysis descriptive research method is to explain Peking and Pekingan and their diversity. The existence of this diversity of Pekingan is a cause and effect of not realizing the results of the Pekingan agreement at the 1985-1986 workshop as a whole in DIY. This research focuses on pekingan which is presented in Yogyakarta-style musical performances in Uyon-Uyon Adiluhung KHP Kridhamardawa Yogyakarta Palace, Yogyakarta SMKI, ISI Yogyakarta, and AKNSB Yogyakarta. The diversity of Pekingan gives richness in working on the Yogyakarta-style karawitan art. The identity used is “pekingan ndhisiki wasp balungan gending”, both in the gending working on soran, bedhayan, and softly. It seems that there are two patterns of working on Pekingan, namely: the Pekingan lamba pattern and the rangkep pattern. This can not be blamed or justified either way, there is only good or bad to listen to or enjoy the musical

Calibration of surface runoff parameters with the hydrologic tank model using recursive digital filter and master recession curve

There are two basic methods to calibrate the hydrological model: (1) the trial and error procedure; (2) the automatic calibration. The problem in the calibration method is the determination of the initial value of the parameters. This poses a problem for beginner model users. This paper presents the calibration results of surface runoff parameters in the hydrological tank model using recursive digital filter method and the master recession curve. The results indicate that the Recursive Digital Filter as a surface runoff separation method can be used for the initial approach to calibrate the tank model parameter

Penyajian Iringan Wayang Othok Obrol Lakon Prasetya Adipati Karno oleh Ki Subandi dalam Pakeliran Gaya Kedu Selokromo

Penelitian ini berjudul “Penyajian Iringan Wayang Othok Obrol Lakon Prasetya Adipati Karno oleh Ki Subandi dalam Pakeliran Gaya Kedu Selokromo”. Tujuan dari penelitian ini adalah mendeskripsikan bentuk dan struktur garap dalam karawitan iringan Wayang Othok Obrol. Fokus pembahasan penelitian meliputi bentuk dan fungsi gending, struktur adegan dan sajian gending, serta garap penyajian. Metode penelitian yang digunakan dalam penelitian ini adalah metode deskriptif analisis, yang dilakukan dengan cara studi pustaka, wawancara, observasi, dan dokumentasi. Wayang Othok Obrol merupakan bentuk pertunjukan wayang kulit yang termasuk dalam jenis pakeliran padat. Pertunjukan Wayang Othok Obrol lakon Prasetya Adipati Karno terbagi menjadi tiga (3) bentuk adegan yang terdiri dari jejer, adegan, dan strat. Iringan yang digunakan memiliki bentuk gending yang berbeda dengan bentuk gending pada umumnya. Hal tersebut terlihat dari tabuhan kolotomik yang terdiri dari ketuk, kenong, dan kempul. Iringan Wayang Othok Obrol terdiri dari gending khusus dan lagu glenukan. Gending khusus merupakan gending yang sudah dibakukan untuk mengiringi pertunjukannya. Gending tersebut terdiri dari Ayak obrol, Srepeg obrol, gending Kasatriyan dan Sampak titir. Adapun Glenukan merupakan bentuk iringan yang berfungsi sebagai pembentuk suasana adegan dalam pertunjukan Wayang Othok Obrol.Presentation of the Wayang Othok Obrol Accompaniment of the Prasetya Adipati Karno play by Ki Subandi in the Kedu Selokromo Style PakeliranThis study is entitled "Presentation of the Othok Obrol Wayang Accompaniment of the Prasetya Adipati Karno Play by Ki Subandi in the Kedu Selokromo Style Pakeliran". The purpose of this research is to describe the form and structure of the work on the musical accompaniment of Wayang Othok Obrol. The focus of the research discussion includes the form and function of the piece, the structure of the scene and presentation of the piece, as well as the work on the presentation. The research method used in this research is descriptive analysis method, which is carried out by means of literature studies, interviews, observation, and documentation. Wayang Othok Obrol is a form of wayang kulit performance which is included in the solid type of puppetry. The performance of the Wayang Othok Obrol play by Prasetya Adipati Karno is divided into three (3) forms of scenes consisting of sequences, scenes and strat. The accompaniment used has a form that is different from the form of music in general. This can be seen from the colotomic wasp which consists of tap, kenong, and kempul. The accompaniment of the Wayang Othok Obrol consists of special renditions and glenukan songs. Special gending is a gending that has been standardized to accompany the performance. The pieces consist of Ayak obrol, Srepeg obrol, Kasatriyan and Sampak titir songs. The Glenukan is a form of accompaniment that functions as a setting for the atmosphere of the scene in the Wayang Othok Obrol performance

KEANEKARAGAMAN TUMBUHAN VEGETASI HUTAN MANGROVE DI TUMBU-TUMBU, LAMPEAPI DAN WUNGKOLO, PULAU WAWONII, SULAWESI TENGGARA

Fifty four species belong to 32 families and 46 genera were recorded in mangrove areas of Tumbu-tumbu, Lampeapi and Wungkolo(Wawonii Island, South East Sulawesi). Twenty four of them included in the IUCN (Anonim, 1997) list. The richest species diversity found in Lampeapi (48 species) followed by Tumbu-tumbu (39 spesies) and Wungkolo (29 species).The dominant species of those areas were Rhizophora apiculata, R. mucronata and Bruguiera gymnorrhiza.The total average density of three was 268–742 individu/ha, with basal area 16.14–28.99 m 2/ha, sapling plant was 66–317 indv./ha will basal area 0.38–0.92 m /ha and seedling plant was 88,13 –146,66 individu/ ha