scholarly journals The Rhythm Pattern Adaptation of Langgam Jawa in Kroncong

2019 ◽  
Author(s):  
Abdul Rachman ◽  
Udi Utomo
Keyword(s):  
Rhythm Pattern

METODE PEMBELAJARAN PADA EKSTRAKURIKULER DIDONG BANAN DI SMAN 8 TAKENGON ACEH TENGAH

2018 ◽  
Vol 7 (2) ◽  
pp. 247
Author(s):  
Yulia Khairaawati
Keyword(s):  
Extracurricular Activities ◽  
Teaching Method ◽  
Lecture Method ◽  
Rhythm Pattern ◽  
Ward Method

The results of the study prove that the Didong Banan in SMAN 8 Takengon CentralAceh has been established since 2011 and was stopped in 2015 and reopened in 2016,Didong Banan extracurricular activities have increased from year to year, at thebeginning of the opening only students followed the existing songs and now students cancreate their own songs through spontaneity, the method used in didong bananextracurricular is lecture method, project teaching method, discussion method, ponobanoe method, ward method, and dewey method. The rhythm pattern in Didong Bananis divided into three, namely rhythm of behavior, rhythmic rhythm, and rhythm of thepillow.

scholarly journals Pelatihan Pola Ritme Sebagai Strategi Peningkatan Kualitas Pembalajaran Mata Kuliah Instrumen Gitar di Jurusan Musik FSP ISI Yogyakarta

PROMUSIKA ◽  
2019 ◽  
Vol 7 (1) ◽  
pp. 20-28
Author(s):  
Kustap Kustap ◽  
Ikhsan Lubis
Keyword(s):  
Data Analysis ◽  
Qualitative Method ◽  
Class Action ◽  
Material Objects ◽  
Rhythmic Pattern ◽  
Training Process ◽  
Interactive Model ◽  
Analysis Process ◽  
Research Material ◽  
Rhythm Pattern

Pola ritme merupakan elemen musik utama yang berkaitan langsung dengan gerakan waktu dalam musik, di mana waktu selalu bergerak dan mengatur kestabilan rasa musikal. Pola ritme sangat mentukan ketepatan hitungan dalam permainan gitar tunggal, dan bermain anasambel gitar. Pola ritme merukan objek material penelitian sedangkan proses pelatihan pola rime dalam pembelajaran mata kuliah instrumen gitar merupakan objek formal. Metode yang digunakan dalam penelitian ini adalah metode kualitatif dan tindakan kelas dengan teknik pengupulan data triangulasi, sedangkan proses analisis data menggunakan model interaktif. Hasil yang diperoleh dari penelitian ini adalah strategi latihan pola ritme yang disesuaikan dengan tanda sukat yang ada pada materi yang berupa lagu yang akan dilatih dengan instrumen gitar. moving and regulating musical stability. Rhythm patterns really determine the accuracy of counts in a single guitar game, and play guitar ensembles. Rhythm patterns are research material objects while the rime training process in learning guitar instrument subjects is a formal object. The method used in this study is a qualitative method and class action with the technique of collecting triangulation data, while the data analysis process uses an interactive model. The results obtained from this study are the rhythmic pattern training strategies that are tailored to the signs of sukat that are in the material in the form of songs that will be trained with guitar instruments.Keywords: Rhythm pattern; training; learning; guitar

Rhythm pattern variation device

1980 ◽  
Vol 67 (1) ◽  
pp. 366-366
Author(s):  
Toshio Mishima
Keyword(s):  
Rhythm Pattern

scholarly journals Vocal learning and flexible rhythm pattern perception are linked: Evidence from songbirds

2021 ◽  
Vol 118 (29) ◽  
pp. e2026130118
Author(s):  
Andrew A. Rouse ◽  
Aniruddh D. Patel ◽  
Mimi H. Kao
Keyword(s):  
Vocal Learning ◽  
Pattern Perception ◽  
Rhythmic Pattern ◽  
Rhythm Perception ◽  
Time Intervals ◽  
Motor Pathways ◽  
Multiple Stimulus ◽  
Rhythm Pattern ◽  
Key Aspects ◽  
Linked Evidence

Rhythm perception is fundamental to speech and music. Humans readily recognize a rhythmic pattern, such as that of a familiar song, independently of the tempo at which it occurs. This shows that our perception of auditory rhythms is flexible, relying on global relational patterns more than on the absolute durations of specific time intervals. Given that auditory rhythm perception in humans engages a complex auditory–motor cortical network even in the absence of movement and that the evolution of vocal learning is accompanied by strengthening of forebrain auditory–motor pathways, we hypothesize that vocal learning species share our perceptual facility for relational rhythm processing. We test this by asking whether the best-studied animal model for vocal learning, the zebra finch, can recognize a fundamental rhythmic pattern—equal timing between event onsets (isochrony)—based on temporal relations between intervals rather than on absolute durations. Prior work suggests that vocal nonlearners (pigeons and rats) are quite limited in this regard and are biased to attend to absolute durations when listening to rhythmic sequences. In contrast, using naturalistic sounds at multiple stimulus rates, we show that male zebra finches robustly recognize isochrony independent of absolute time intervals, even at rates distant from those used in training. Our findings highlight the importance of comparative studies of rhythmic processing and suggest that vocal learning species are promising animal models for key aspects of human rhythm perception. Such models are needed to understand the neural mechanisms behind the positive effect of rhythm on certain speech and movement disorders.

scholarly journals Kroncong Orchestration of Millennial Generation

2019 ◽  
Vol 19 (2) ◽  
pp. 117-125
Author(s):  
Victor Ganap
Keyword(s):  
Social Class ◽  
Sixteenth Century ◽  
Popular Music ◽  
Millennial Generation ◽  
Significant Contribution ◽  
Political Power ◽  
Musical Genre ◽  
Cultural Domain ◽  
And Gender ◽  
Rhythm Pattern

Kroncong is the urban popular music of Indonesia, which some scholars suggest was brought by Portuguese in the early sixteenth century.  Kroncong becomes popular across the archipelago as accompaniment in its musical genre, theatre and film. Although popular music has long been an integral part of Indonesian cultural domain, genres such as kroncong have been overlooked by music scholars.  This article aims to introduce kroncong orchestration that could be performed in an updated style for incorporating repertoire from any other genres into idiomatic kroncong, that will be adopted by the millennial generation. Therefore, the reinvention of kroncong will not only be a significant contribution to scholarship on Indonesian popular music, but it will also contribute to a wider understanding of the complexities of indigenous ethnicity, political power, social class, and gender. The orchestration that will retain its rhythm pattern and vocal ornamentation, while reinforcing the strings and winds as melodic carriers.

scholarly journals Interpretation of electroencephalography in infants

2020 ◽  
Vol 12 (1) ◽  
pp. 9-25
Author(s):  
A. G. Koshchavtsev ◽  
S. V. Grechanyi
Keyword(s):  
Visual Analysis ◽  
Burst Suppression ◽  
Older Children ◽  
Slow Sleep ◽  
Spike Wave Discharges ◽  
Occipital Spikes ◽  
Rhythm Pattern ◽  
Graphic Elements ◽  
Large Groups ◽  
Spike Wave

Aim: Based on published reports and our own observations, we aimed to assign the graphical elements of EEG into normal and abnormal groups and then identify up to five main graphic elements in each group to facilitate visual analysis and interpretation of EEG in young children.Materials and methods. We searched for the relevant sources in the Medline and Medscape databases using the following keywords: «neonatal EEG», «neonatal seizures», «theta burst», «delta brushes», «trace discontinue», «burst-suppression», hypsarrhythmia», etc. Our own research was conducted using an Encephalan-EEGR-19/26 encephalograph equipped with children size gold cup electrodes with a diameter of 0.6 cm. Encephalograms were recorded from 10 electrodes according to the international “10-20” system.Results and discussion. In early childhood EEGs, two large groups of EEG graphic elements can be discerned: the likely normative graphic elements and patterns of pediatric EEG (normal patterns) and the likely non-normative (abnormal) graphic elements and patterns of pediatric EEG. In the likely normative group, the main features are represented by: theta bursts, delta brushes, the “intermittent EEG curve” pattern, the occipital theta rhythm, and slow-sleep waves. In the likely non-normative group, those are: paroxysmal EEG graphic elements, asynchronous EEG patterns, spike-wave discharges, 3 Hz peak waves, hypsarrhythmia, burst-suppression pattern, rolandic occipital spikes, and a slowing rhythm pattern.Conclusion. Along with the numerous attempts to characterize the age-dependent graphic elements at an early age, there are few reports concerning older children and adults. Here we try to overcome this discrepancy by identifying two large groups of graphic elements in EEG that are similar between infants and children of an older age. Such an approach may contribute to a better understanding of normal and pathological ontogenesis.

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