scholarly journals Pencug

SELONDING ◽  
2019 ◽  
Vol 13 (13) ◽  
Author(s):  
Adimas Muhammad Fajariansyah
Keyword(s):  
Music Composition ◽  
Art Music ◽  
Musical Composition ◽  
Musical Form ◽  
Work Of Art ◽  
Art Object ◽  
Musical Works ◽  
The Creation

The time until now the existence of tepak pencug has not found a place in the hearts of the composers or other creators to make it as the source of creation in realizing a work of art (music). Though tepak pencug often used as a creativity event of a rider in accompanying dance jaipong for improvisation rythm. That way, it is clear that many patterns or motifs of Sundanese drums are born by improvisations. That is the good idea for creation to be developed into a work of music. Based on the symptoms of that’s the meaning, the idea that becomes an offer in the work of pencug music is to cultivate or explore the motives that exist in kendang sunda (especially tepak pencug) into a work of art object (music).The purpose of the creation of the compositions of musical works is to develop patterns, rhythms and motifs in the form of music composition. While the benefit is to contribute thoughts about the process of creation through the development of patterns, rhythms and motifs in the drum kendang Sunda to other creators. The realization of the work of this musical composition can’t be separated from various sources that provide inspiration and guidance or reference. This work uses two types of sources as a reference, namely the source of art work and some sources of books (literature of review). The work of the composition of pencug music refers to the concept of working on Suwanda as the owner and creator of tepak kendang jaipongan. These methods include; Salambar directly saayana tinu heubeul (what it is from the first), janten ku nyira (so by itself or improvisation) and ngarobah nu aya (change existing). The form of musical composition of pencug composition refers to the concept of musical form of vocal-instrumental mix (sekar gending). The structure of the composition of the music composition consists of three parts, among which part bubuka, stuffing and ending. Keywords: Tepak Pencug, Development, Sekar Gending.

scholarly journals CENGKOK GENDERAN DUALOLO SEBAGAI SUMBER IDE PENCIPTAAN KOMPOSISI MUSIK “FANTASIA FROM DUALOLO” KARYA : PURWA ASKANTA

2021 ◽  
Vol 21 (1) ◽  
pp. 111-131
Author(s):  
Purwa Askanta ◽  
Danis Sugiyanto
Keyword(s):  
Music Composition ◽  
Descriptive Analysis ◽  
Music Analysis ◽  
Musical Composition ◽  
Analysis Approach ◽  
Musical Work ◽  
Simple Idea ◽  
Musical Tradition ◽  
Musical Works ◽  
The Creation

This journal is entitled "Cengkok Genderan Dualolo as a Source of Ideas for the Creation of Fantasia From Dualolo Music Composition" by Purwa Askanta. The focus of the problems studied in this paper includes the analysis of musical composition works that use the source of artistic ideas from a dualolo genderan twist in Javanese Karawitan. How the idea is used as a theme and developed to form a sound building in the form of Fantasia in three parts. In this composition, there are several creation systems that need to be expressed in order to understand the reader in order to understand the concept of creating this musical work. The method used in this journal is descriptive analysis with a form of music analysis approach. The findings of this research will show creativity in composing a new musical composition by Purwa Askanta. Meanwhile, the purpose of this research is to contribute in the form of techniques and methods of creating musical works that raise a simple idea from elements of the Javanese musical tradition in the form of the dualolo gendered twisted. It is hoped that the writings in this journal can broaden the readers' insight and become a reference for those who explore the creation of musical works.

scholarly journals “Kalatidha” : Sebuah Komposisi Musik Program

2019 ◽  
Vol 17 (1) ◽  
pp. 64-86
Author(s):  
Wahyu Thoyyib Pambayun
Keyword(s):  
Music Composition ◽  
Literary Work ◽  
Musical Composition ◽  
The Core ◽  
Starting Point ◽  
Musical Works ◽  
Three Stages ◽  
The Creation ◽  
The One

ABSTRAK Karya “Kalatidha” adalah pertunjukan komposisi musik yang mengangkat isi Serat Kalatidha sebagai ide gagasannya. Terciptanya karya “Kalatidha” dilatarbelakangi oleh kegundahan hati melihat keadaan sekitar yang mengalami kemerosotan di berbagai bidang. Karya sastra Serat Kalatidha dianggap mampu untuk mewadahi kegundahan hati karena substansinya masih aktual dan  apresiatif hingga sekarang. Tujuan penyusunan karya “Kalatidha” adalah dapat menyampaikan dan menggambarkan secara musikal isi substansi Serat Kalatidha. Hasil dari pengamatan mendalam terhadap Serat Kalatidha, dapat ditangkap bahwa inti dari isi Serat Kalatidha ada lima butir. Adapun kelima butir tersebut sebagai berikut: (1) Keadaan negara yang penuh keraguan karena tidak adanya tauladan dari pemimpin. (2) Boleh merasa sedih ketika mendapatkan cobaan, namun harus segera bangkit dan menyadari bahwa semua cobaan yang dialami sudah ditakdirkan. (3) Kepandaian dan kedudukan yang didapatkan akan mengakibatkan datangnya petaka jika seseorang tidak mempunyai moral yang baik. (4) Mawas diri, berserah dan berdoa kepada Sang Pencipta, karena Dialah yang menentukan segalanya. (5) Harus tetap semangat untuk berpegang teguh pada kebenaran walaupun dikelilingi perbuatan yang angkara dengan tetap menganggap bahwa seuntung-untungnya orang yang lalai, masih beruntung yang selalu ingat dan waspada. Butir-butir tersebut digunakan sebagai titik pijak tema cerita atau penggambaran situasional untuk menyusun materi musikal dan garap masing-masing komposisi musik dalam karya “Kalatidha”. Adapun komposisi musik tersebut sebagai berikut: Aruhara”, “Kantaka”, “Awignya Angkara”, “Pamuja Pujastawa” dan “Pramana Prayitna”. Penyusunan karya “Kalatidha” menggunakan tiga tahapan, yaitu: penyusunan gagasan isi, penyusunan ide garapan dan penuangan ide garapan. Tahapan dalam penuangan ide meliputi eksplorasi teknik, eksplorasi pola permainan instrumen, pencarian melodi melalui eksplorasi, penyusunan bagian komposisi, penyambungan antara bagian komposisi, pengolahan volume, tempo sajian dan  evaluasi. Hasil dari penyusunan karya dan tesis karya seni “Kalatidha” diharapkan dapat menjadi salah satu alternatif rujukan untuk menyusun karya musik baru bagi mahasiswa penciptaan musik, khususnya mahasiswa karawitan. Kata Kunci: “Kalatidha”, Serat Kalatidha, Komposisi Musik, Penciptaan Musik, Eksplorasi.  ABSTRACT The work “Kalatidha” is a musical composition performance that elevates the contents of Serat Kalatidha as an idea. The creation of the work “Kalatidha” was motivated by the anxiety of seeing a deteriorating situation in various fields. The literary work of Serat Kalatidha is considered capable to accommodate the anxiety for the substance is still actual and appreciative until now. The purpose of the work “Kalatidha” is to convey and to describe musically the substance of Serat Kalatidha. The in-depth observations of Serat Kalatidha shows that Serat Kalatida contains five points as follows: it can be captured that the core of the Kalatidha Fiber contents is five points. The five points are as follows: (1) A state is full of doubts because there is no guidance from the leader. (2) One may feel sad when getting a trial but he must immediately get up and realize that all that happened are destined. (3) Intelligence and position obtained will result in disaster if someone does not have good morals. (4) To be introspective, surrender and pray to the God because He is the one who determines everything. (5) Keeping the spirit to hold the truth even surrounded by insolent actions and keeping assuming that someone must always remember and alert in order to get safe in his life. These items are used to be a starting point for the themes or situational portrayals to arrange the musical material and the works on each musical composition in “Kalatidha”. The composition of the music is as follows: Aruhara “,” Kantaka “,” Awignya Angkara “,” Pamuja Pujastawa “and” Pramana Prayitna “. The preparation of the work “Kalatidha” uses three stages, namely: the preparation of content ideas, compilation of ideas and conveying the ideas. The stages in conveying ideas include technical exploration, exploration of instrument playing patterns, searching the melodies through exploration, compilation of composition parts, splicing the parts of composition, processing volume, tempo of presentation and evaluation. The results of the works and the thesis of “Kalatidha” are expected to be one of the alternative references for composing new musical works for students of music creation, especially musical students. Keywords: “Kalatidha”, Serat Kalatidha, Music Composition, Music Creation, Exploration.

scholarly journals Suita Zodiak: Komposisi Musik untuk String Kuartet dan Trio Woodwind

2016 ◽  
Vol 3 (1) ◽  
pp. 10-18
Author(s):  
Ovan Bagus Jatmika
Keyword(s):  
Music Composition ◽  
Musical Composition ◽  
The Creation

Zodiak adalah rasi bintang di sepanjang garis ekliptika yang terdiri atas 12 bagian, yaitu Aries, Taurus, Gemini, Cancer, Leo, Virgo, Libra, Scorpio, Sagitarius, Capricorn, Aquarius, dan Pisces. Ke-12 zodiak tersebut memiliki karakter yang berbeda karena dibedakan oleh modus (cardinal, fixed, mutable) dan elemen (api, tanah, udara, air) yang menyusunnya. Fenomena ini, dalam konteks komposisi musik, merupakan hal-hal ekstra musikal. Hal-hal ekstra musikal inilah yang akan diangkat ke dalam komposisi musik programa dengan judul “Suita Zodiak”. Komposisi ini disusun dalam 12 gerakan dan disusun dalam 12 tonalitas yang berbeda. Masing-masing gerakan menggambarkan karakter 12 zodiak dari Aries hingga Pisces. Karakter dari ketiga modus yang menyusun zodiak ditransformasi ke musik melalui pembedaan tekstur, sedangkan karakter dari keempat elemen yang menyusun zodiak ditransformasi ke musik melalui pembedaan karakter melodi, suasana musikal, dan pembedaan tempo. Pemaknaan tentang karakter 12 zodiak kemudian dijadikan batasan dalam penciptaan “Suita Zodiak” bersifat arbitrer. Hal ini mengacu pada beberapa karya yang pernah diciptakan sebelumnya, yang sebagian besar menghubungkan karya musik dengan unsur ekstra musikalnya secara arbitrer. Karya ini digarap dalam format string kuartet dan trio woodwind dengan mengembangkan beberapa konsep melodi yang diambil dari thesaurus of scales and melodic pattern. Zodiac Suite: Music Composition for String Quaertet and Trio Woodwind. Zodiac is the constellations along the ecliptic line consisting of 12 parts, namely Aries, Taurus, Gemini, Cancer, Leo, Virgo, Libra, Scorpio, Sagitarius, Capricorn, Aquarius, and Pisces. The 12 zodiacs have different characters because they are distinguished by the mode (cardinal, fixed, mutable) and elements (fire, earth, air, water) that are arranged them. This phenomenon, in the context of musical composition, is extra-musical things. These extra-musical things will be lifted into musical composition program entitled “Suita Zodiak”. This music composition has been worked out in 12 movements and arranged in 12 different tones. Each movement describes the character of the 12 zodiacs from Aries to Pisces. The characters of the three modes setting up the zodiac will be transformed into music through texture distinction; meanwhile the characters of four elements that are creating the zodiac have been transformed into music through the distinction of the melodic character, musical atmosphere, as well as difference in tempo. The meaning of 12 zodiac characters are then used as constraints in the creation of the arbitrary Zodiac Suite. This refers to several masterpieces that had been previously created, most of which relate to musical masterpiece with arbitrary extra-musical element. This artistry has been created in the quartet string and trio woodwind format by developing several melody concepts that are taken from thesaurus of scales and melodic pattern.

scholarly journals KOMPOSISI KARAWITAN ISMUNING CAHYA: INTERPRETASI KEESAAN TUHAN MELALUI TOKOH SEMAR

2021 ◽  
Vol 20 (2) ◽  
pp. 157-167
Author(s):  
Danis Sugiyanto ◽  
Sigit Setiawan
Keyword(s):  
Music Composition ◽  
Contemporary Music ◽  
Research Work ◽  
Art Music ◽  
Works Of Art ◽  
The Creation ◽  
Artistic Research

This work is entitled "Ismuning Cahya", is a work of contemporary Javanese gamelan music composition with the theme "the form of the Oneness of God” represented by the wayang character, Semar. The purpose of the creation of this works is to prove the existence of contemporary music (gamelan), as a reference for gamelan students who are interested in creating works of art (music). The output of this artistic research work is in the form of works (both live and/ or audio documentation) and scientific works which contain the process of developing the works "Ismuning Cahya". From there, it is hoped that this work will be able to become a model for the creation of works of art, especially the creation of contemporary gamelan.  

Considerações a Respeito de Música a partir do Pensamento de Heidegger

2018 ◽  
Vol 74 (4) ◽  
pp. 1043-1076
Author(s):  
Eduardo Augusto G. Gatto
Keyword(s):  
Musical Composition ◽  
Work Of Art ◽  
Musical Works ◽  
Musical Knowledge ◽  
Musical Creation

The purpose of this paper is to elaborate some considerations about the musical issue from the poetic-hermeneutic ontology started by Heidegger. It has for support, among others, the essay ‘Der Ursprung des Kunstwerkes’ (The Origin of the Work of Art), but during our discussion, other works and authors will appear as possibilities of dialogue from the necessities of the path. Under the musical perspective, the paper takes on principle the thesis which affirms the music in a pre-representational condition as original poetic responding to the primordial question that starts all philosophy. Having it in focus, we structure the text in three main pillars of inquiry based on the musical happening: a) the reference between music and musical works; b) the role of the musicians and the audience-listeners; c) the musical knowledge. Guided by both, thesis and principles, we structure four parts interrelated whose titles are: 1) work and sound/sonority; 2) music and musical creation; 3) work, musical performing interpretation, and musical composition; 4) knowledge [coda]. The present way of organization has the intention of merging the issues proposed by the titles in order for them to be thought from the own perspectives of each section.

scholarly journals PROSES PENCIPTAAN KOMPOSISI MUSIK KYAI BADRANAYA DALAM KARYA MUSIK KIDUNG SEMAR

2018 ◽  
Vol 4 (2) ◽  
pp. 103
Author(s):  
Aris Setyoko ◽  
Rahayu Supanggah
Keyword(s):  
General Public ◽  
Music Composition ◽  
New Music ◽  
Musical Composition ◽  
Scientific Thinking ◽  
Human Beings ◽  
Musical Performances ◽  
Alignment Process ◽  
Puppet Show ◽  
The Creation

Kyai Badranaya is another name for figures in the purwa puppet show which is a symbolic figure for Javanese people. The special symbolic means to have variations, concepts of life, and beliefs in Javanese society. In the Javanese purwa puppet show, Semar figures are representations of good and wise qualities in human beings. Real Semar figures are also gods who transformed into commoners and became servants, protectors, and also knights of Pandawa namely Yudhistira, Bima, Arjuna, Nakula, and Sadewa in the Javanese version of the Mahabharata epics. The musical composition of Kyai Badranaya is part of the four musical compositions of Kidung Semar by the author, who presents musical performances with ideas from the values and semar phenomenon of Semar figures in the purwa puppet show in Java. The method is carried out through stages, namely the alignment process, and sound training. With this method, the music composition of Kyai Badranaya is compiled and presented in the form of a musical repertoire, which proposes reflection and thoughts about how one becomes a leader who applies the life concept of Semar, namely tepa selira, lembah manah, and andhap asor. The purpose of various organizations is the application used as a learning medium for the general public in the form of new music works. The result of the creation of this musical composition work is to contribute scientific thinking on how to create new music works by utilizing work from traditional sources of Javanese musical music in particular, as well as archipelago music.

scholarly journals Teaching Art Music in Nigerian Schools: The Academic, Technical and Social Implications

2018 ◽  
Vol 7 (1) ◽  
Author(s):  
Femi Sinaola Abiodun
Keyword(s):  
Music Composition ◽  
Traditional Music ◽  
Art Music ◽  
Music Instruction ◽  
Musical Composition ◽  
Social Implications ◽  
Global Level ◽  
Music Training ◽  
The People ◽  
Western Medium

Art music in the Nigerian context is the composition of Nigerians who have formal music training and have composed using Western medium to express traditional Nigerian music. This paper sets out to illuminate the technicalities involved in this form of musical composition and proposes a model of art music instruction for Nigerian schools. The author posits that the teaching and performing of art music in Nigerian schools will bring music closer to the people. He argues that whereas art music is an aberration from Nigerian traditional music, yet with concerted efforts and skill, the practice of art music will help in preserving Nigerian culture on paper and facilitate the promotion of its local music to the global level. The paper concludes that traditional music elements that are entrenched in art music composition can constitute a model and parameter for identifying and appreciating Nigerian music. The teaching of art music therefore must be encouraged by Nigerian music curricular planners.Art music in Nigerian context is the composition of Nigerians who have formal music training and have composed usingWestern medium to express traditional Nigerian music. This paper sets out to illuminate the technicalities involved in this form of musical composition and proposes a model of art music instruction for Nigerian schools. The author posits that the teaching and performing of art music in our schools will bring music closer to the people. The author equally argues that whereas art music is an aberration from our traditional music, yet with concerted efforts and skill, the practice of art music will help in preserving our culture on paper and facilitate the promotion of our local music to the global level. The paper concludes that traditional music elements that are entrenched in art music composition can constitute a model and parameter for identifying and appreciating Nigerian music. The teaching of art music, therefore, must be encouraged by Nigerian music curricular planners.

Music after the Fall

2017 ◽  
Author(s):  
Tim Rutherford-Johnson
Keyword(s):  
New Media ◽  
Contemporary Music ◽  
The United States ◽  
Art Music ◽  
Sound Art ◽  
Musical Composition ◽  
Western Art ◽  
Wide Range ◽  
Definition Of ◽  
The Cold War

By the start of the 21st century many of the foundations of postwar culture had disappeared: Europe had been rebuilt and, as the EU, had become one of the world’s largest economies; the United States’ claim to global dominance was threatened; and the postwar social democratic consensus was being replaced by market-led neoliberalism. Most importantly of all, the Cold War was over, and the World Wide Web had been born. Music After The Fall considers contemporary musical composition against this changed backdrop, placing it in the context of globalization, digitization, and new media. Drawing on theories from the other arts, in particular art and architecture, it expands the definition of Western art music to include forms of composition, experimental music, sound art, and crossover work from across the spectrum, inside and beyond the concert hall. Each chapter considers a wide range of composers, performers, works, and institutions are considered critically to build up a broad and rich picture of the new music ecosystem, from North American string quartets to Lebanese improvisers, from South American electroacoustic studios to pianos in the Australian outback. A new approach to the study of contemporary music is developed that relies less on taxonomies of style and technique, and more on the comparison of different responses to common themes, among them permission, fluidity, excess, and loss.

Kaki Manusia Sebagai Objek Estetik Penciptaan Fotografi Seni

2014 ◽  
Author(s):  
Dira Herawati
Keyword(s):  
Social Situation ◽  
Work Of Art ◽  
Social Phenomena ◽  
Aesthetic Object ◽  
Human Foot ◽  
Works Of Art ◽  
The Social ◽  
The Creation ◽  
Art Photography ◽  
Artistic Images

Accountability report is a written description of creative experiences as an artist or a photographer of aesthetic exploration efforts on the image and the idea of a human as a basic stimulant for the creation of works of art photography. Human foot as an aesthetic object is a problem that relates to various phenomena that occur in the social sphere, culture and politics in Indonesia today. Based on these linkages, human feet would be formulated as an image that has a value, and the impression of eating alone in the creation of a work of art photography. Hence the creation of this art photography entitled The Human Foots as Aesthetic Object  Creation of Art Photography. Starting from this background, then the legs as an option object art photography, will be managed creatively and systematically through a phases of creation. The creation phases consist of: (1) the exploration of discourse, (2) artistic exploration, (3) the stage of elaboration photographic, (4) the synthesis phase, and (5) the stage of completion. Methodically, through the phases of the creative process  through which this can then be formulated in various forms of artistic image of a human foot. The various forms of artistic images generated from the foots of its creation process, can be summed up as an object of aesthetic order 160 Kaki Manusia Sebagai Objek Estetik Penciptaan Fotografi Seni in the photographic works of art. It is specifically characterized by the formation of ‘imaging the other’ behind the image seen with legs visible, as well as of the various forms of ‘new image’ as a result of an artistic exploration of the common image of legs visible. In general, the whole image of the foot in a photographic work of art has a reflective relationship with the social situation, cultures, and politics that developed in Indonesian society, by value, meaning and impression that it contains.Keywords: human foots, aestheti,; social phenomena, art photography, images

Music Material Development Techniques (Lectures in «Principles of Music Analysis») 

2020 ◽  
pp. 53-69
Author(s):  
Р.Х. Лаул
Keyword(s):  
Final Section ◽  
High Efficiency ◽  
Music Analysis ◽  
Detailed Examination ◽  
Musical Composition ◽  
Musical Form ◽  
Musical Work ◽  
Saint Petersburg ◽  
Material Development ◽  
Development Processes

Настоящий материал продолжает серию публикаций лекций Рейна Лаула по анализу музыки в Санкт-Петербургской (Ленинградской) консерватории. Шестая лекция завершает обзор приемов разработочного развития музыкального материала. В нее вошли шесть из двадцати пяти приемов в авторской классификации (эпизодическая тема, производная тема, варьирование, полифонические варианты, приемы подвижного контрапункта, полифонические структуры), способствующей систематизации разработочных процессов. В поле зрения автора включены неспецифически сонатные способы преобразования музыкального материала, благодаря чему сонатность предстает в гибком и взаимодополняющем взаимодействии с иными принципами формообразования. Особое внимание уделено специфике применения полифонических средств развития музыкального материала в контексте сонатного формообразования. В ходе детального рассмотрения финала симфонии В. А. Моцарта Юпитер оказываются тесно связанными технологический, композиционно-драматургический и стилевой аспекты становления музыкальной формы. Заключительный раздел, обобщающий содержание лекции в целом, содержит пример практического применения предлагаемой автором методологии. Тем самым доказывается ее целесообразность и высокая эффективность как в аспекте анализа интонационной драматургии музыкального произведения, так и в достижении главной аналитической цели в формировании объективного представления о содержательной сути каждого этапа в развёртывании музыкальной композиции. This material continues the series of publications of R. H. Lauls lectures on music analysis at the Leningrad (Saint Petersburg) Rimsky-Korsakov State Conservatory. The sixth lecture concludes the review of techniques for developing musical material. It discusses six of the twenty-five techniques in the authors classification (episodic theme, derived theme, variation, polyphonic variants, mobile counterpoint techniques, polyphonic structures), which contributes to systematization of the development processes. The authors field of view includes non-specific Sonata methods of transforming the musical material, so that sonateness appears in a flexible and complementary interaction with other principles of formation. Special attention is paid to the specifics of using polyphonic means of developing musical material in the context of Sonata formation. The detailed examination of the finale of Mozarts Symphony Jupiter, shows that technological, compositional, dramatic, and stylistic aspects of the formation of a musical form appear to be closely related. The final section summarizing the content of the lecture as a whole contains an example of practical application of the methodology proposed by the author, proving its expediency and high efficiency not only in the aspect of analyzing the intonation drama of a musical work, but also of achieving the main analytical goal to form a reasoned judgment about the content of each stage in the deployment of a musical composition.

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