scholarly journals Proses Awal dalam Penghasilan Komposisi “Kelampan Bajang” dengan Mengadaptasi Struktur Musik Pop Suku Sasak Lombok

2021 ◽  
Vol 3 (2) ◽  
pp. 86-102
Author(s):  
Sapriadi Sapriadi ◽  
Chamil Arkhasa Nikko Mazlan ◽  
Affendi Ramli
Keyword(s):  
Regional Identity ◽  
Musical Composition ◽  
Local Culture ◽  
Regional Culture ◽  
Musical Culture ◽  
The Public ◽  
Depth Study ◽  
Song Lyrics ◽  
Musical Arrangement ◽  
Initial Process

The musical composition, entitled Kelampan Bajang, is the main narrative of the composition theme about the story of the journey of the young Sasak tribe which is semiotically depicted in three different times, namely morning, afternoon, and night. This composition emerged due to several phenomena found, including 1) there are no complete Sasak songs in transcripts and arrangements, 2) many musicians arrange songs in Sasak but often cause controversy in lyrics and music, 3) many talented young musicians cover repeating noname songs on several songs performed by many pop singers in Lombok, 4) many sasak pop songs but most of them do not represent local culture in terms of lyrics and music. This paper aims to explain the initial process of musical composition with the theme Kelampan Bajang including 1) Bekuliq, 2) Bekayaq, 3) Matur Tampiasih, 4) Sepi Alam Dese, 5) Lalo Midang, and 6) Merariq. All song lyrics are written in the Sasak language. The research uses the autoethnographic method to discuss the problem, how the idea of ​​creating musical compositions can be aligned with the diversity of musical culture in Lombok. After conducting an in-depth study, the author concluded that in order to create a compositional work that could represent regional culture and not cause controversy among the public, namely 1) the author inserted an exploration of the pelog and slendro melodic motifs in the vocal melody section as regional identity, 2) the author inserted the motif the melodies of pelog and slendro in the musical arrangement section, and 3) the author uses good and correct local language lyrics that are in accordance with the regional culture in Lombok.

scholarly journals Randai as Cultural Identity Formation in Minangkabau

2021 ◽  
Vol 5 (10) ◽  
pp. 12-16
Author(s):  
Hendri Jihadul Barkah
Keyword(s):  
Cultural Identity ◽  
Identity Formation ◽  
Cultural Study ◽  
Conflicts Of Interest ◽  
Regional Identity ◽  
Local Culture ◽  
Regional Culture ◽  
The Government ◽  
The One ◽  
Local Cultures

The present study is initiated on the phenomenon that people in minang lose such cultural identity. Indeed, the portion of local cultures gradually begins to shift and they are switched into a single culture which is commonly known as "National Culture". On the one hand, the creation of a national cultural identity originates only from a “small part” of regional culture. This has led to cultural stunting in Indonesia. The approach used within the study is cultural study. The cultural study is one of the methods used to understand humans. This study explains conflicts of interest that happened between groups and tribes where they are bond through an understanding of cultural differences. Local culture as a basis values in the life of its people is a factor that must be respected by the government. Society must have the freedom to create their regional identity as a view and guide of their living. Local cultures should not be used as a display and preserved as if they were mere ancient items. On the other hand, local culture must have its own space to be owned by the community.

Nothing in Popular Culture Makes Sense except in the Light of Evolution

2012 ◽  
Vol 16 (2) ◽  
pp. 109-120 ◽  
Author(s):  
Gad Saad
Keyword(s):  
Popular Culture ◽  
Evolutionary Psychology ◽  
Case Analysis ◽  
Human Mind ◽  
Cultural Form ◽  
The Public ◽  
Psychology Today ◽  
Wide Range ◽  
Current Article ◽  
Song Lyrics

An evolutionary lens can inform the study of cultural forms in a myriad of ways. These can be construed as adaptations, as exaptations (evolutionary byproducts), as gene–culture interactions, as memes, or as fossils of the human mind. Products of popular culture (e.g., song lyrics, movie themes, romance novels) are to evolutionary cultural theorists what fossils and skeletal remains represent to paleontologists. Although human minds do not fossilize or skeletonize (the cranium does), the cultural products created by human minds do. By identifying universally recurring themes for a given cultural form (song lyrics and collective wisdoms in the current article), spanning a wide range of cultures and time periods, one is able to test key tenets of evolutionary psychology. In addition to using evolutionary psychology to understand the contents of popular culture, the discipline can itself be studied as a contributor to popular culture. Beginning with the sociobiology debates in the 1970s, evolutionary informed analyses of human behavior have engendered great fascination and animus among the public at large. Following a brief summary of studies that have explored the diffusion of the evolutionary behavioral sciences within specific communities (e.g., the British media), I offer a case analysis of the penetration of evolutionary psychology within the blogosphere, specifically the blog community hosted by Psychology Today.

Musical Culture To-day: A Sociological Note

Tempo ◽  
1944 ◽  
pp. 104-107
Author(s):  
W. H. Mellers
Keyword(s):  
New Technique ◽  
Musical Culture ◽  
The Public ◽  
Look Back ◽  
Good Music ◽  
Adequate Provision ◽  
Post War ◽  
The Way

We are often told that there is to-day a promising efflorescence of musical culture in this country; that the public for ‘good’ music is growing rapidly; and that more adequate provision must be made for music in the post-war reconstructed world. Substantially I believe all this is true; but it does also seem to me that much potential cultural vitality may be wasted if these conclusions are accepted too easily, without enquiry into the premisses on which they are based. What do we mean by musical culture? What do we expect music to give us? The mere quantity of music played tells us nothing; we want to know what kind of relation the noise has to the society that produces it, we want to know what bearing it has on the way people live. If we look back a moment to consider some of the things that music has meant to people living before us, we shall soon see that our problems are peculiarly difficult, and that we may well need a virtually new technique to deal with them. A refusal to see our educational problems against the background of history will lead to confusion and incompetence in musical culture as in everything else.

Regarding Electronic Music

Tempo ◽  
1966 ◽  
pp. 2-11 ◽  
Author(s):  
Aurelio de la Vega
Keyword(s):  
Twentieth Century ◽  
Electronic Music ◽  
Aesthetic Experience ◽  
The Other ◽  
Musical Composition ◽  
Electronic Medium ◽  
The Public ◽  
The World ◽  
Twentieth Century Music ◽  
Long Time

For a long time now—long when we consider the quick, changing time-scale of our days—electronic music has been with us. The public at large usually remains cold, confused or merely dazed when faced with any new aesthetic experience. Critics, musicologists and the like still seem, as usual, to be unable to predict what will happen to this peculiar, mysterious and often anathematized way of handling musical composition, while many traditionally-minded composers consider it a degrading destruction of the art of music. On the other hand, the electronic medium seems to attract a long, motley caravan of young, inexperienced and often unprepared ‘beatnik type’ self-titled composers, who believe that the world began yesterday and that you only have to push buttons and prepare IBM cards to obtain magical results. Probably not since Schoenberg proclaimed the equal value of the twelve semitones of our sacred but by now obsolete tempered scale has twentieth-century music been faced with such a bewilderment.

scholarly journals Regional musical culture management in 1939-1945 (on materials of the Volga Region)

2017 ◽  
Vol 6 (1) ◽  
pp. 139-142
Author(s):  
Olga Vladimirovna Tuzova
Keyword(s):  
Cultural Models ◽  
Structural Complexity ◽  
Volga Region ◽  
Regional Culture ◽  
Front Line ◽  
Musical Culture ◽  
Professional Affiliation ◽  
Functional Complex ◽  
Different Levels

The paper deals with some problems of musical institutions management in the Volga Region in 1939 1945 on the example of 8 musical cultural models of rear, frontal and front-line types: Kuibyshev, Ulyanovsk, Penza, Saratov, Engels, Kazan, Stalingrad, Astrakhan. The author reconstructs the structure and functional complex of the management component, describes the responsibilities of the commissioners of Performances and Repertoire Control Main Department at different levels and detects the role of the Communist party in the music management of the region. The author notes instability and incomplete correspondence of the administrative board in some models as a negative factor. A significant impact on musical culture management in the region provided emergency-revaluation processes: range of competencies and staff. Changes in the geography of governance structures affected the Stalingrad model of front type. Some actual data about the material provision of the management component are provided: departments placement and employees salaries. Structural complexity of administrative areas during 1939 1945 is stated. The author restores a number of regional culture managers names and their professional affiliation.

scholarly journals Reconstruction of Clothing Menak Sunda Media Planting Values Culture Local Wisdom Sunda

2017 ◽  
Vol 13 (1) ◽  
Author(s):  
Mila Karmila ◽  
Maly Maeliah ◽  
Suciati Suciati
Keyword(s):  
Experimental Method ◽  
Visual Language ◽  
Local Culture ◽  
Fashion Design ◽  
Communication Medium ◽  
The Public ◽  
Cultural Phenomenon ◽  
Historical Past ◽  
Selection Of

The scope of this study relates to the reconstruction of the Sunda ethnic clothing, especially in Bandung marvelous fashion with the intention to reinvest the values of local wisdom Sundanese culture. On Sunda marvelous fashion reconstruction used an experimental method with the following stages: a. Making fashion design Menak Sunda, b. Selection of materials/ material, c. Manufacture of clothing Menak Sunda/ Bandung. Experimental method used to reintroduce a form of fashion Menak Bandung to the public. The results showed that clothing menak Sundanese source can be found in museums Prabu GESAN Ulun is Menak Clothing Bandung. Reconstruction fashion Menak also functions as a medium in instilling the values of local wisdom of Sundanese culture, especially related to the fashion area of Indonesia. Clothing is a cultural phenomenon in a culture, because it is through the visual language/ visualization of clothing, it can be studied, explored and revealed the values contained therein. It also can be a communication medium that has a historical past and the meaning of positive values for the local culture then submitted at the present or future.  

scholarly journals The Sheath Warrior Returns: Identity and Ideology of the Nation

2020 ◽  
Vol 7 ◽  
Author(s):  
Agustinus Rustanta ◽  
Evvy Silalahi
Keyword(s):  
Vice President ◽  
Charles Sanders Peirce ◽  
Verbal Communication ◽  
Local Culture ◽  
The West ◽  
Self Identity ◽  
The Public ◽  
Deep Meaning ◽  
Way Of Thinking ◽  
Election Commission

This research focuses on non-verbal communication of sarong worn by Ma’ruf Amin as the candidate of Vice President of Republic Indonesia for the period of 2019-2024 who had been declared by the public election commission (KPU) on Junie 28, 2019. To analyze the meaning of sarong, the researchers use semiotics of Charles Sanders Peirce. The findings indicate that sarong denotatively means a piece of cloth which is sewn at its end to become a kind of tube to cover part of man’s body especially his stomach and below. Furthermore, sarong has very deep meaning, they are showing self-identity, local culture, the symbol of resistance to the culture of the west, it shows sincerity, complex way of thinking, flexibility, elegance, smart thinking, and excellent morality.

scholarly journals Amateur Piano Music-Making and the Ufa Section of the Imperial Russian Musical Society

ICONI ◽  
2019 ◽  
pp. 73-82
Author(s):  
Ninel F. Garipova ◽  
Keyword(s):  
Piano Music ◽  
Piano Performance ◽  
Musical Culture ◽  
Early 19Th Century ◽  
The Public ◽  
Musical Education ◽  
Music Making ◽  
Academic Genres ◽  
The City ◽  
In Virtue Of

The geographic position of Ufa, which in the early 19th century was a deep province, was not conducive to the development of musical culture. However, we must consider as an important element in its formation the active spread of household music-making and the wish of amateurs to participate in the city’s concert life. The “Society for Singing, Music and the Art of Drama” was founded in 1885 in Ufa following the wishes of the city residents. The twenty-year-long existence of the Society has left a considerable trace in the development of musical education and the exposure of the public to the academic genres of the art of piano performance; it played a signifi cant role in the development of musical literacy and the musical hearing of the residents of Ufa. In virtue of a number of existing social reasons the Society was closed down, but following the request of the most educated part of the local nobility and intelligentsia the Ufa Section of the Imperial Russian Musical Society (IRMS). Having existed for only a few years, until the revolution of 1917, it was able to lead the art of music to a new, higher level. Professionals with a higher musical education were conducive to the further expansion of promotion of music with their concert performances and teaching lessons in the musical classes and enhanced the development of the art of professional music in Bashkiria.

Tudorism in English Music, 1837–1953

Tudorism ◽  
2011 ◽  
Author(s):  
STEPHEN BANFIELD
Keyword(s):  
Twentieth Century ◽  
Case Studies ◽  
National Culture ◽  
New Music ◽  
Musical Composition ◽  
Political Agenda ◽  
Musical Culture ◽  
Early Music ◽  
General Picture ◽  
English Music

Between the early nineteenth and mid-twentieth centuries, a cultivated relationship with the music of a favoured period in the distant national past was a pervasive aspect of high, and sometimes lower, musical culture in England. This chapter first sketches a general picture of that relationship before presenting some particular case studies. It addresses the following questions: to what extent does Tudorism in music refer to the revival of music itself, to what extent to its stylistic emulation in nineteenth- and twentieth-century English compositions? Was it a matter of appealing to the Tudors to set a political agenda for music? Tudorism in English music was many things but also one very definite thing — a conscious modelling of style or atmosphere in musical composition on that of a perceived golden age of national culture. It was in some respects part of the early music movement that Harry Haskell identified as beginning in 1829 with Mendelssohn's revival of J. S. Bach's St Matthew Passion, yet not the same thing insofar as that movement was about reviving discarded old music and Tudorism was about creating new music in an earlier image.

Sign in / Sign up

Export Citation Format

Share Document