scholarly journals Tradisi Keislaman Masyarakat Sunda pada Abad ke-19

2021 ◽  
Vol 5 (2) ◽  
pp. 152-169
Author(s):  
Agung Purnama

This paper analyzes the religiosity of the Sundanese people in a historical approach, to be precise around the 19th century. The method used is the Historical Method which consists of heuristics, criticism, interpretation, and historiography stages. The results of the study show that the Sundanese people are known as religious people. Islam as a religion adopted by most of the Sundanese Tatar population has been acculturated with the local culture and with the noble values inherited by the Karuhun. In Sundanese society, Islamic teachings are often expressed with the taste of local traditions. Instead, local traditions are often given the breath of Islam, which further strengthens the religiosity of its adherents. In addition to carrying out the basic religious shari'ah, the religious expression of the Sundanese people is present in the form of religious holidays which are commemorated lively. Likewise, the stages of a person's life, such as birth, childhood, marriage, until death, have religious and cultural instruments attached to them.

Author(s):  
N. V. Bashmakova ◽  
K. V. Kravchenko

The purpose of this article is process of analyzing in reference to concert capriccio by C. Munier for mandolin with piano («Bizzarria», op. 201, Spanish сapriccio, op. 276) from the point of view of their genre specificity. Methodology. The research is based on the historical approach, which determines the specifics of the genre of Capriccio in the music of the late 19th and early 20th centuries and in the work of C. Munier; the computational and analytical methods used to identify the peculiarities of the formulation and the performing interpretation of the original concert pianos for mandolins with piano that, according to the genre orientation (according to the composerʼs remarks), are defined as capriccio. Scientific novelty. The creation of Florentine composer,61mandolinist-vertuoso and pedagog C. Munier, which made about 300 compositions, is exponential for represented scientific vector. Concert works by C. Munier for mandolin and piano, created in the capriccio genre, were not yet considered in the art of the outdoors, as the creativity and composer’s style of the famous mandolinist. Conclusions. Thus, appealing to capriccio by С. Munier, which created only two works, embodied in them virtually all the evolutionary stages of the development of genre. In his opus of this genre there are a vocal, inherent in capriccio of the 17th century solo presentation, virtuosity, originality, which were embodied in the works of 17th – 18th centuries and the national color of the 19th century is clearly expressed. Thus, the Spanish capriccio is a kind of «musical encyclopedia» of national dance, which features are characteristic features of bolero, tarantella, habanera, and so forth. The originality of opus number 201 – «Bizzarria», is embodied in the parameters of shaping (expanded cadence of the soloist in the beginning) and emphasized virtuosity, which is realized in a wide register range, a variety of technical elements.


2020 ◽  
Vol 2 (1) ◽  
pp. 73-90
Author(s):  
Ahmad Tohri ◽  
H. Habibuddin ◽  
Abdul Rasyad

This article discusses the Sasak people’s resistance against MataramKarangasem and Dutch colonial rulers in the 19th century in Lombok, Indonesia. It particularly focuses on Tuan Guru Umar Kelayu and his central role in the emergence of Sasak people’s resistance which transformed into Sasak physical revolution local and global imperialismcolonialism. Using the historical method, this article collected data through observation, in-depth interviews, and documentation. The data analysis involved the historical methods of heuristics, verification or criticism, interpretation, and historiography. The findings show that Sasak people’s resistance was not only caused by economic factors but also related to other factors such as social, cultural, and religious ones. Tuan Guru Umar Kelayu played a key role in the Sasak people’s resistance in that it was under his leadership and influence that the resistance transformed into a physical struggle against MataramKarangasem and Dutch colonialism as seen in Sakra War and Praya War which were led by his students and friends.


ORGANON ◽  
2020 ◽  
pp. 75-100
Author(s):  
Adèle Chevalie

The fact that ethnographical collections, often ancient, are preserved in archaeological museums nowadays might not be obvious. The material culture of living societies is not, indeed, the priority of archaeologists, who are mainly interested in societies of the past. However, a museological and historical approach makes it possible to study these collections and highlight their differential management according to institutions and epistemological developments in the human sciences, since the middle of the 19th century.


2014 ◽  
Vol 13 (4) ◽  
pp. 445-481 ◽  
Author(s):  
Felipe Dias

This article seeks to explain how economic and local political structures shaped the ways in which public officials articulated ideas of race and labor in the nineteenth century Brazil. Employing a comparative historical method, this work advances the literature in two ways. First, it suggests that what we have come to view as a positive valuation of blackness has roots in the economic development prior to the centralized nation-building processes. Second, the findings of this study point to the effects of intra-national factors, such as economic structures and patterns of labor incorporation, in shaping how regional public officials articulated notions of “race,” labor, and progress.


2019 ◽  
Vol 18 (18) ◽  
pp. 73-88
Author(s):  
Yuanmei Lian

Introduction. Given article considers R. Schumann’s “Zwei Venetianische Lieder” / “Two Venetian Songs” (ор. 25, №17–18) on poems by T. Moore, in F. Freiligrath translation. Often the creation of the Venice ambience in art works was due to trips and impressions on this city. In 1829, R. Schumann, as a student of Heidelberg University, went on a trip to Switzerland and Italy during his study vacation. One of the cities on the travel map was Venice. R. Schumann “resurrected” the city ambience only eleven years after in the “Zwei Venetianische Lieder” (“Two Venetian Songs”), which became part of the song cycle “Myrthen” (1840). How do these two vocal miniatures, that are one of the first in the composer’s vocal creativity, reflect the individual style of his writing? Do they correlate with the nature of the “true” Schumann, who is known for his famous works, such as the cycle “A poet’s Love”? Objective. The purpose of the article is to comprehend composer methods of Venice image embodiment in “Zwei Venetianische Lieder” in the context of creative tradition of the Austro-German romantic song. Methods used in the research: 1) historical method, allowing to comprehend the selected material in the perspective of the development of Austro-German song of the 19th century; 2) intonational method, which involves the study of vocal melody in terms of melodic reactions to figurative content; 3) genre method, caused by the features of chamber vocal lyrics; 4) stylistic method, corresponding to a specific opus consideration in the general context of the composer’s creative work. The results of the study. “Zwei Venetianische Lieder” were grown up in the artistic climate of its era. The popularity of traveling in the circles of well-educated youth was a practical realization of spiritual impulses and the inner need to push the boundaries of the information space for awareness of the nature of self-own identity through a meeting with a different culture and worldview. Italy, and the entire Mediterranean areal, as the cradle of the Christian humanist culture, was a center of attraction for the German romantics. The creation of the artistic and aesthetic archetype of Italy and Venice by J. W. Goethe in “Italian Travels” and “Epigrams” has created a tradition of perception these themes not only in German literature, but also in music. R. Schumann was one of the first to respond to this creative idea. He was also the first among German composers to turn to the “poetic” Venice of the Englishman Thomas Moore and initiated the appearance of a series “Venetianische Lieder” in Austro-German music of the 19th century. A number of authors were involved in the creation of this series – F. Mendelssohn Bartholdi, A. Fesca, С. Dekker, and others. The melancholic mood of the many “Venetianisches Gondellied” written by German composers was the result of the process of mythologizing the image of Venice. The creative people (poets, writers, composers, painters) were involved in this process. They perceived this city through the prism of artistic relations, associations, and sought in its canonical symbols (channels, gondolas, sea, mirror, mask) new semantic dimensions, means of the expression of self-reflection. “Zwei Venetianische Lieder” from the song cycle “Myrthen” by R. Schumann stand apart on this list as not only the first, but also as the works distinguished by its originality. 1840 year is considered as the “song year” in the composer’s work. In this year 138 songs and the best of song cycles were written by the composer: “Liederkreis” ор. 24, “Myrthen” ор. 25, “Liederkreis” ор. 39, “Frauenliebe und Leben” ор. 42, “Dichterliebe”, ор. 48. After the “piano decade” (1829–1839) Schumann’s appeal to the song came a surprise, in particular, for the author himself. This led to the change in his musical aesthetics, to the revision of the hierarchy entrenched in the consciousness, about the primacy of music over other arts and the instrumental music over the vocal. Although the cycle “Myrten” op. 25 (1840) is one of the first in the vocal works by R. Schumann, it is distinguished by the maturity of style writing. R. Schuman’s psychological sensitivity to the poetic word is conveyed in the intonational nature of the songs, careful selection of harmonic means, finely tuned tonal plans that can emphasize both, contemplation and rebelliousness. Musical and poetic integrity is also ensured by the increased importance of the accompaniment and the piano part in whole that include the expressive instrumental introductions and postludes aimed at revealing of an image. Conclusion. The study of R.Schumann’s “variations” on Thomas Moore’s “Venice” as a separate scientific topic makes it possible to realize the scale of the creative competition established by the outstanding composer in his “Zwei Venetianische Lieder” from the vocal cycle “Myrthen”.


2018 ◽  
Vol 2 (2) ◽  
pp. 147-166
Author(s):  
Nor Huda

In its history, there has been a strong difference between the doctrine of Sufism and the philosophical Sufism, including Indonesia. In the period of the end of the 16th century until the end of the 19th century even the emergence of the beginning of Islamic intellectualism in Indonesia was brilliantly marked by monumental works. Then, in the era of the 1970s, the discourse of renewing Islamic thought was increasingly being studied. The young generation of educated Muslims in this decade has shown a tendency towards thinking that is no longer normative in view of religion. Very different in the era of mystical and sufistic Islam. So, they tend to be more interested in Islamic understanding based on empirical and historical approaches in the formation of their religious vision. In this paper, a philosophical historical approach will be discussed on the issue of continuity and change in Islamic intellectual discourse in the Malay world of Indonesia and at the same time analyzing broader mystical and philosophical mysticism in Indonesia, friction in it, and efforts to reconcile it.


2019 ◽  
Vol 2 (2) ◽  
pp. 158
Author(s):  
Alamsyah Alamsyah

Wonosobo Batik historically could be traced in Hindu period with the discovery of Syiva wore Parang motif. At the end of the 19th century Wonosobo batik motif was seen in clothes worn by traditional Dutch East Indies officers. In the post-independence period Wonosobo batik was also seen to be worn by the community. Motif used was dominated by Parang motif (machete) Lereng motif (slope) with dark and darkish color. The existence of batik was reappeared at the beginning of 21st century dominated by Carica and purwaceng motifs. These motifs were considered to have local peculiarities of Wonosobo. From these motifs carica combination motif had developed. The motifs which were combined with carica such as Sulur, Sekar Jagat, Kawung, Wayang, Lereng, Lubang Sewu, Kopi, Cabe, Teh, Rejeng, Sidomukti, Topeng, and etc. It meant that Wonosobo batik motifs were varies by adopting potential and local culture


2020 ◽  
Vol 7 (2) ◽  
pp. 199-210
Author(s):  
Kristina M. Pantelić Babić ◽  
Sladjana Mijatovic ◽  
Dejan Gavrilovic

SummaryCreated by the idea of Miroslav Tyrš in the second half of the 19th century as a movement of spiritual and physical strengthening of the nation, sokolism soon spread to all countries where the Slavic people lived. In that way, it reached the territory of Herzegovina as well. However, what exactly was the idea of the sokol movement, what did it develop into in the first half of the 20th century in Herzegovina and whether it is an idea that can benefit a man of the 21st century as well, are just some of the questions that the authors deal with in this research. Although Miroslav Tyrš and his sokols are typical representatives of ethnocentrism, the sokolism of Herzegovina has expanded its ideas also in another direction. Using physical exercise as a gracious food for their body and truth and zeal as food for their soul, they may have been able to hint at what is an essential need almost a century later, and that is a theoanthropocentric way of approaching man which has been used more and more lately, especially in the field of physical culture. The appointed problems authors research using the method of theoretical analysis and historical method.


2011 ◽  
Vol 1 (1) ◽  
pp. 63-88
Author(s):  
Jamaluddin Jamaluddin

It is predicated that Islam, which penetrated in Lombok, was brought by Muslim merchants in the 15th century. However, according to the local sources, Islam was brought to Lombok by Sunan Prapen from Java, and not in 15th, but in 16th. Islam had been developed within the center of Islamic Kingdoms, established less than two centuries. The kingdoms had become the ruling powers. During the great periods of the Islamic kingdoms, Islam spread out massively and became the official religion of the states. Employing historical approach with three phases: heuristic, analytic or interpretative and historiography, this research discusses the penetration method of Islam in Lombok in 15th century and how it had been developing since its arrival to the 19th century.


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