scholarly journals Imitation On The Jaranan Buto Banyuwangi Musical Presentation Structure

2021 ◽  
Vol 10 (1) ◽  
pp. 11-16
Author(s):  
Handi Wiyono
Keyword(s):  
Final Stage ◽  
Domain Analysis ◽  
Research Data ◽  
Qualitative Approach ◽  
Musical Instruments ◽  
Taxonomic Analysis ◽  
The Arts ◽  
Performing Art ◽  
Musical Accompaniment ◽  
Over Time

Jaranan Buto is one of the arts that live in Banyuwangi in addition to other arts. As a performing art, in every presentation Jaranan Buto uses accompanying music. At the beginning of its creation, the musical accompaniment of Jaranan Buto consisted of several instruments and pieces. Over time, the musical accompaniment of Jaranan Buto has experienced developments so as to form a structure for presenting the musical accompaniment of Jaranan Buto which is now commonly used. This study discusses the structure of the musical accompaniment of Jaranan Buto and its various imitations. This study used a descriptive qualitative approach by interviewing Setro Asnawi (80 years) as the creator of Jaranan Buto and Mariyono (55 years) as the second generation of Jaranan Buto Sekar Diyu dancers who were still active until this research was written. Analysis of research data starts from domain analysis, observation focused on the accompaniment of Jaranan Buto from the beginning of the stage, trance to exiting the stage, taxonomic analysis, selected observations to the final stage, namely component analysis. From these results it can be concluded that the elements of musical imitation in the accompaniment of Jaranan Buto consist of imitation of musical instruments and imitation of pieces performed from other arts.

scholarly journals Rekreasi, Hiburan, Belajar: Studi Kegiatan Wisata Seni dan Budaya di Saung Angklung Udjo

2020 ◽  
Vol 3 (2) ◽  
pp. 693-702
Author(s):  
Trianti Nugraheni ◽  
Agus Budiman ◽  
Dewi Rachmawati
Keyword(s):  
Cultural Tourism ◽  
Research Data ◽  
Qualitative Approach ◽  
Marketing Strategies ◽  
Structured Interviews ◽  
West Java ◽  
The Arts ◽  
Arts And Culture ◽  
Art And Culture ◽  
Descriptive Method

Saung Angklung Udjo in West Java is one of the destinations for the arts and cultural tourism program founded by Mang Udjo Ngalagena. The concept of preservation, development and education of arts and culture is one of the program visions developed at Saung Angklung Ujdo. The purpose of this study was to obtain clear data and information related to the management system of the Saung Angklung Ujdo art and culture studio regarding how to plan, implement and program the marketing system implemented in Saung Angklung Ujdo, West Java. The method used in this research is descriptive method with a qualitative approach. The research data were obtained from structured interviews with the head of the studio management, field actors (performing artists) and several employees at Saung Angklung Udjo. Apart from the results of interviews, research data were obtained through the process of observation activities regarding the implementation of arts and cultural program activities at Saung Angklung Ujdo. The results showed that conceptually the arts and culture tourism program activities at Saung Angklung Udjo had a vision of activities in preservation, development and education. This is shown in the program objectives, activity materials, objectives and marketing strategies that have been developed to be more directed at organizing cultural and artistic tourism which has the principles of recreation, entertainment and learning.

scholarly journals Kaawakan Ulun

JOGED ◽  
2017 ◽  
Vol 7 (2) ◽  
Author(s):  
Fauji Romansyah
Keyword(s):  
Computer Program ◽  
Musical Instruments ◽  
Digital Music ◽  
Base Word ◽  
Marching Band ◽  
Final Project ◽  
East Kalimantan ◽  
Traditional Dance ◽  
Musical Accompaniment ◽  
Over Time

“Kaawakan Ulun” merupakan sebuah judul karya koreografi pada tugas akhir yang penata tempuh pada semester genap tahun akademik 2015/2016. Koreografi Kaawakan Ulun menceritakan tentang pengalaman penata yang kembali dan menemukan kenyamanan dalam bergerak, menari serta kebudayaan penata dengan melihat tradisi dari daerah penata. Kata Kaawakan Ulun, berasal dari kata dasar Awak dan Ulun, kedua kata tersebut diambil dari bahasa daerah suku Banjar, salah satu suku yang ada di Kalimantan Selatan.            Koreografi Kaawakan Ulun, hadir dalam bentuk koreografi kelompok, yang menggambarkan atau menceritakan pengalaman penata yang tidak tahu akan tari tradisional dari daerah penata sendiri. Seiring berjalannya waktu, penata mulai merasa malu karena tidak mengetahui tari tradisional yang berasal dari Kalimantan Timur. Penata mulai mencari tahu dan mempelajari tari tradisional Kalimantan Timur, melalui teman-teman yang ada disekitarnya yang berasal dan memiliki kebudayaan yang sama dengan penata. Sehingga akhirnya penata sadar, bahwa tari tradisional sangatlah istimewa dan indah, sehingga munculah ide untuk menggarap unsur budaya tradisional dengan ketubuhan yang penata miliki, untuk dikolaborasikan hingga menjadi satu kesatuan yang harmonis dan indah.            Koreografi Kaawakan Ulun ini, penata masukan beberapa unsure budaya yang ada di Kalimantan Timur, yaitu unsur budaya Pedalaman atau Dayak dan unsur budaya Pesisir atau Melayu Kutai. Koreografi ini di dalamnya juga hadir permainan Flag Marching Band sebagai salah satu properti tari. Musik pengiring koreografi ini juga mengikuti kedua unsure budaya tersebut. Sumber suara pada musik pengiring ini tidak hanya bersumber dari alat musik tradisional dan musik digital yang diciptakan melalui program komputer saja, namun juga bersumber dari suara vokal seperti senandung, agar suasana khas dari Kalimantan Timur tambah terasa. "KaawakanUlun" is the title of choreographic creation on the final project that artist btained on the second semester of the 2015/2016 academic years. This dance tells about flashback of  choreographer’s experiences that found comfort in moving. KaawakanUlun , derived from the base word Awak and Ulun, that words are taken from Banjar language , one of the ethnic in South Kalimantan. This dance presented in a form of choreography group. The dance describes the choreographer’s experience who did know traditional dances from choreographer’s own. Over time, the choreographer began to feel embarrassed because he did not know the traditional dances that originated from East Kalimantan. Furthermore, the choreographer began to seek out and learned traditional dance of East Kalimantan from friends who comes from the same culture. Finally choreographer understood that traditional dance is very special and beautiful. So came idea to make creation with element that choreographer has. It was be collaborate and became a harmonious and beautiful dance.            Choreographer combined some elements of that exist in East Kalimantan. That ware outback area or Dayak culture and coastal or Malay culture. In this dance choreographer used Marching Band flags as one of the properties dance. The music followed both of the cultures. The musical accompaniment not only from musical instruments and digital music that created by using computer program but also from the sound like humming so the atmosphere like East Kalimantan tasted.

scholarly journals Kaawakan Ulun

JOGED ◽  
2017 ◽  
Vol 8 (2) ◽  
Author(s):  
Fauji Romansyah
Keyword(s):  
Computer Program ◽  
Musical Instruments ◽  
Digital Music ◽  
Base Word ◽  
Marching Band ◽  
Final Project ◽  
East Kalimantan ◽  
Traditional Dance ◽  
Musical Accompaniment ◽  
Over Time

“Kaawakan Ulun” merupakan sebuah judul karya koreografi pada tugas akhir yang penata tempuh pada semester genap tahun akademik 2015/2016. Koreografi Kaawakan Ulun menceritakan tentang pengalaman penata yang kembali dan menemukan kenyamanan dalam bergerak, menari serta kebudayaan penata dengan melihat tradisi dari daerah penata. Kata Kaawakan Ulun, berasal dari kata dasar Awak dan Ulun, kedua kata tersebut diambil dari bahasa daerah suku Banjar, salah satu suku yang ada di Kalimantan Selatan.            Koreografi Kaawakan Ulun, hadir dalam bentuk koreografi kelompok, yang menggambarkan atau menceritakan pengalaman penata yang tidak tahu akan tari tradisional dari daerah penata sendiri. Seiring berjalannya waktu, penata mulai merasa malu karena tidak mengetahui tari tradisional yang berasal dari Kalimantan Timur. Penata mulai mencari tahu dan mempelajari tari tradisional Kalimantan Timur, melalui teman-teman yang ada disekitarnya yang berasal dan memiliki kebudayaan yang sama dengan penata. Sehingga akhirnya penata sadar, bahwa tari tradisional sangatlah istimewa dan indah, sehingga munculah ide untuk menggarap unsur budaya tradisional dengan ketubuhan yang penata miliki, untuk dikolaborasikan hingga menjadi satu kesatuan yang harmonis dan indah.            Koreografi Kaawakan Ulun ini, penata masukan beberapa unsure budaya yang ada di Kalimantan Timur, yaitu unsur budaya Pedalaman atau Dayak dan unsur budaya Pesisir atau Melayu Kutai. Koreografi ini di dalamnya juga hadir permainan Flag Marching Band sebagai salah satu properti tari. Musik pengiring koreografi ini juga mengikuti kedua unsure budaya tersebut. Sumber suara pada musik pengiring ini tidak hanya bersumber dari alat musik tradisional dan musik digital yang diciptakan melalui program komputer saja, namun juga bersumber dari suara vokal seperti senandung, agar suasana khas dari Kalimantan Timur tambah terasa. "KaawakanUlun" is the title of choreographic creation on the final project that artist btained on the second semester of the 2015/2016 academic years. This dance tells about flashback of  choreographer’s experiences that found comfort in moving. KaawakanUlun , derived from the base word Awak and Ulun, that words are taken from Banjar language , one of the ethnic in South Kalimantan. This dance presented in a form of choreography group. The dance describes the choreographer’s experience who did know traditional dances from choreographer’s own. Over time, the choreographer began to feel embarrassed because he did not know the traditional dances that originated from East Kalimantan. Furthermore, the choreographer began to seek out and learned traditional dance of East Kalimantan from friends who comes from the same culture. Finally choreographer understood that traditional dance is very special and beautiful. So came idea to make creation with element that choreographer has. It was be collaborate and became a harmonious and beautiful dance.            Choreographer combined some elements of that exist in East Kalimantan. That ware outback area or Dayak culture and coastal or Malay culture. In this dance choreographer used Marching Band flags as one of the properties dance. The music followed both of the cultures. The musical accompaniment not only from musical instruments and digital music that created by using computer program but also from the sound like humming so the atmosphere like East Kalimantan tasted.

scholarly journals Tangled roots: Kalenda and other neo-African dances in the circum-Caribbean

2004 ◽  
Vol 78 (1-2) ◽  
pp. 5-41 ◽  
Author(s):  
Julian Gerstin
Keyword(s):  
Crucial Role ◽  
Musical Instruments ◽  
French Colonialism ◽  
Historical Material ◽  
Black Caribbean ◽  
French Colonies ◽  
The Caribbean ◽  
Musical Accompaniment ◽  
Over Time

Investigates descriptions of Afro-Caribbean dances in early chronicles and historical material. Author focuses on choreography, as well as on musical instruments and their use. He pays special attention to descriptions of the Martinican kalenda dance. He discusses descriptions from the 18th c. of black Caribbean dance in French and other colonies, by priests and others, of the kalenda as a couple dance within a ring, and descriptions of other widespread early dances in the Caribbean, such as chica. Author notes that in these early descriptions the authors focus obsessively on eroticism, thus simplifying and exaggerating the dances as sexual, and ignoring their variety. Further, he analyses early chronicles on other widespread dances in the circum-Caribbean, such as stick-fighting dances, bamboula, djouba, and belair, comparing with present-day Caribbean dances, and on "challenge dancing" involving a dance soloist "challenged" by a lead drummer, found, for instance, in kalenda and rumba. In addition, the author focuses on the dances' musical accompaniment by drums, and the drum types and methods, specifically transverse drumming and drumming with sticks on the side of the drum, found today in kalenda, and other Caribbean styles. He points at the inaccuracy of some chronicles, mixing up dance names, and recurring superficiality and stereotypes. He nonetheless concludes from them that slaves from the Congo/Angola region probably played a crucial role in forming these early dance styles, and that their spread was connected with French colonialism and slavery and migrations from (once) French colonies. He describes probable Congolese/Angolan influences, such as pelvic isolation, challenge dances, couple dancing within a circle, and transverse drumming, but indicates that these are over time combined with other African and other influences.

scholarly journals An Analysis of Commisive Act in the Hunger Games

2018 ◽  
Vol 10 (1) ◽  
pp. 13
Author(s):  
Moh. Rifki Rasyid ◽  
Dwi Taurina Mila Wardhani
Keyword(s):  
Data Analysis ◽  
Domain Analysis ◽  
Research Data ◽  
Cultural Value ◽  
Hunger Games ◽  
Taxonomic Analysis ◽  
Componential Analysis ◽  
The Hunger Games

This research was about commissive acts uttered by characters  and the aims behind the use of commissive acts in The Hunger Games : Mockingjay Part 2 movie. In conversation, commissive acts are threatening, promissing, vowing, refusing, etc. The research data was in the form of utterances that contained commissive acts uttered by the characters in the movie. To analyze the data, the researcher used Spradley’s theory (1998) which covered : data analysis; domain analysis, taxonomic analysis, componential analysis, and cultural value. This research was conducted by accomodating two theories: Levinson (1983) in analyzing commissive acts and Searle & Vanderveken (1985) in analyzing the aims of commissive acts. The result of the research showed that the were twenty five data that indicated as the relevant data. From the data, the researcher found five aims behind the use of commissive acts in the movie; they were planning, refusing, offering, promising, and threatening. The most dominant aim behind the use of commissive acts were planning (ten data) and promissing (seven data) while the least dominant were refusing (four data), offering ( two data), and threatening (two data).

PERANAN INSPEKTORAT KABUPATENSUMENEP DALAM MENCEGAH DAN MENDETEKSI FRAUD DI DINAS PENDIDIKAN SUMENEP

2015 ◽  
Vol 5 (1) ◽  
Author(s):  
Astri Furqani ◽  
Hafidhah .
Keyword(s):  
Local Government ◽  
Qualitative Study ◽  
Asset Management ◽  
Sampling Technique ◽  
Research Data ◽  
Qualitative Approach ◽  
Primary Data ◽  
The Government

In this era, a lot of activities that can not be separated from the practice of cheating or fraud , no exception In the government . Inspektorat Sumenep is the leading institution of internal Local Government in preventing and detecting fraud in the Local Government appropiate Perbup Sumenep No. 29 of 2008 . Dinas Pendidikan Sumenep need attention on the issue . This is due to Dinas Pendidikan Sumenep an agency with the largest number of assets and managing large budgets . These conditions led to the formulation of the problem is How Inspektorat Sumenep role in preventing and detecting fraud in Dinas Pendidikan Sumenep. This study used a qualitative approach in which the focus of this study is Inspektorat role in preventing and detecting fraud at Dinas Pendidikan Sumenep . Primary data obtained by direct interviews with the parties directly related to the determination of the source of research data in a qualitative study using nonprobability sampling . The sampling technique used was purposive sampling . The conclusion of this study, role of the Inspektorat Sumenep in the prevention of fraud in Dinas Pendidikan Sumenep still not maximal . This is due to Inspektorat Sumenep not supervise from the planning / budgeting and not optimal in overseeing and assisting the implementation of the SPIP as an instrument of fraud prevention in Dinas Pendidikan Sumenep . The role of Inspektorat Sumenep in the detection of fraud in Dinas Pendidikan Sumenep done by conducting an audit of financial and asset management in each financial year.Keywords: fraud, government, inspektorat.

ANALISIS KOMPARATIF TUTURAN BAHASA INDONESIA PADA MAHASISWA UNIVERSITAS IQRA BURU

2020 ◽  
Author(s):  
HARZIKO
Keyword(s):  
Historical Development ◽  
Qualitative Approach ◽  
Data Selection ◽  
Communication Tool ◽  
Comparative Linguistics ◽  
Data Presentation ◽  
Vocal System ◽  
The Difference ◽  
Bahasa Indonesia ◽  
Over Time

Language is a tool used to convey ideas, ideas, feelings, and thoughts to others. Language, which is an arbiter sound symbol system that is used by members of one community to work together, interact, and identify themselves. In other words, language can be a means to convey intent or purpose so that the desired thing is achieved. As a communication tool, language develops over time. Therefore, language will never die if its speakers still care and love for the language comparative linguistics as a study or study of language which includes the comparison of cognate languages or the historical development of a language. This research aims to elucidate the use of Indonesian language at students of Iqra Buru University with Comparative Analysis. The method used in this research is descriptive with a qualitative approach. Data collected by observation, interview, and documentation techniques. Sources of data in this study were 5 speakers 5 speakers language Analyzing the data by means of data selection, data classification, and data presentation. The results of the study stated that there were phonological differences, namely the Jamee vowel system contained / ɛ / and / ɔ /, while the vocal system was / a / and the consonant system was Jamee / ɣ / or / R /, while the language / r /, then the difference pronunciations include single vowels, for example makɛn, bɔRa in Jamee and eating, bara in Language used by iqra Rush university students. Keywords

An Analytical Study of the Folk Musical Instruments of Meghalaya

2021 ◽  
Vol 66 (1) ◽  
pp. 23-38
Author(s):  
Joyanta Sarkar ◽  
Anil Rai
Keyword(s):  
20Th Century ◽  
Folk Music ◽  
Analytical Study ◽  
Musical Instrument ◽  
Folk Songs ◽  
Musical Instruments ◽  
Indian State ◽  
Material Benefits ◽  
Local Materials ◽  
Over Time

"Meghalaya is a richly inhabited Indian state. Drums, flutes of bamboo and hand-held small cymbals are a common ensemble. The advent of Christianity in the middle of the 20th century marked the start of a decline in tribal popular music. Over time, Meghalaya’s music scene has evolved, attracting many talented artists and bands from both traditional and not-so traditional genres. Any of the most recent Meghalaya musicians and bands is: The Plague Throat, Kerios Wahlang, Cryptographik Street Poets, etc., Soulmate, Lou Majaw, and Snow White. Meghalaya’s music is characterised by traditional instruments and folk songs. The Musical Instruments of Meghalaya are made from local materials. Meghalayan people honour powerful natural forces and aim to pacify animistic spirits and local gods. The instruments are made of bamboo, flesh, wood, and animal horn. Any one of these musical instruments is considered to have the ability to offer material benefits. The Meghalaya musical instrument is an essential part of traditional folk music in the region. In this article, we offer an overview of the folk musical instruments of Meghalaya. Keywords: Idiophone, Aerophone, Chordophone, Membranophone, Trumpet. "

ANALISIS KEBIJAKAN AKUNTANSI PERSEDIAAN PITA CUKAI PADA KPPBC TIPE MADYA CUKAI KEDIRI

INFO ARTHA ◽  
2021 ◽  
Vol 5 (1) ◽  
pp. 25-44
Author(s):  
Deni Herdiyana
Keyword(s):  
Data Collection ◽  
Research Method ◽  
Business Processes ◽  
Accounting Standards ◽  
Field Studies ◽  
Research Data ◽  
Qualitative Approach ◽  
Data Collection Methods ◽  
Government Accounting ◽  
Collection Methods

This research was conducted to analyze the accounting policy for excise tape inventory which is implemented in the KPPBC Type Madya Cukai Kediri. The research method used is through a qualitative approach. To support this research, data collection methods were carried out which included literature studies and field studies related to the supply of excise stamps for the 2019. The results of the study can be concluded that KPPBC TMC Kediri has recognized and recorded excise inventory accounting by applying accrual basis and as a whole is in accordance with the regulations of government accounting standards, but there is an acknowledgment of inventory excise stamps in KPPBC TMC Kediri which is not yet in accordance with PMK Number 224/PMK.05/2016. Furthermore, KPPBC TMC Kediri has implemented the SAKTI application to support its accounting business processes. Penelitian ini dilakukan untuk menganalisa kebijakan akuntansi persediaan pita cukai yang diimplementasikan di KPPBC Tipe Madya Cukai Kediri. Metode penelitian yang digunakan adalah melalui pendekatan kualitatif. Untuk mendukung penelitian tersebut, dilakukan metode pengumpulan data yang mencakup studi kepustakaan dan studi lapangan terkait persediaan pita cukai TA 2019. Hasil penelitian dapat disimpulkan bahwa KPPBC TMC Kediri telah melakukan pengakuan dan pencatatan akuntansi persediaan  cukai dengan penerapan basis akrual dan secara keseluruhan telah sesuai dengan peraturan standar akuntansi pemerintahan, namun terdapat salah satu pengakuan persediaan pita cukai di KPPBC TMC Kediri yang belum sesuai dengan PMK Nomor 224/PMK.05/2016. Selanjutnya,  KPPBC TMC Kediri telah mengimplementasikan aplikasi SAKTI untuk menunjang proses bisnis akuntansinya.

scholarly journals The framing of scientific domains: about UNISIST, domain analysis and art history

2014 ◽  
Vol 70 (2) ◽  
pp. 261-281 ◽  
Author(s):  
Hans Dam Christensen
Keyword(s):  
Information Seeking ◽  
Art History ◽  
Scientific Information ◽  
Domain Analysis ◽  
Content Type ◽  
Scientific Domain ◽  
Information Tools ◽  
Communication Processes ◽  
Three Stages ◽  
Over Time

Purpose – By using the UNISIST models this paper argues for the necessity of domain analysis in order to qualify scientific information seeking. The models allow better understanding of communication processes in a scientific domain and they embrace the point that domains are always both unstable over time, and changeable, according to the specific perspective. This understanding is even more important today as numerous digitally generated information tools as well as collaborative and interdisciplinary research are blurring the domain borders. Nevertheless, researchers navigate “intuitively” in “their” specific domains, and UNISIST helps understanding this navigation. The paper aims to discuss these issues. Design/methodology/approach – The UNISIST models are tentatively applied to the domain of art history at three stages, respectively two modern, partially overlapping domains, as well as an outline of an art historical domain anno c1820. The juxtapositions are discussed against the backdrop of, among others, poststructuralist concepts such as “power” and “anti-essentialism” Findings – The juxtapositions affirm the point already surfacing in the different versions of the UNISIST model, that is, structures of communication change over time as well as according to the agents that are charting them. As such, power in a Foucauldian sense is unavoidable in outlining a domain. Originality/value – The UNISIST models are applied to the domain of art history and the article discusses the instability of a scientific domain as well as, at the same time, the significance of framing a domain; an implication which is often neglected in scientific information seeking.

Sign in / Sign up

Export Citation Format

Share Document