scholarly journals SUGRA: TOKOH PERINTIS DAN DINAMIKA TARLING INDRAMAYU (1930-1997)

2020 ◽  
Vol 12 (2) ◽  
pp. 261
Author(s):  
Lasmiyati Lasmiyati
Keyword(s):  
Field Studies ◽  
Musical Instruments ◽  
Musical Performance ◽  
Art Galleries ◽  
Historical Approach ◽  
Historical Methods

Penelitian tentang Sugra dilakukan dengan tujuan untuk mengenang tokoh perintis tarling di Indramayu yang selama ini kurang dikenal di kalangan luas. Penelitian ini menggunakan metode sejarah dengan pendekatan sejarah biografi. Pengumpulan data dilakukan dengan wawancara, studi lapangan, dan studi pustaka. Hasil yang diperoleh dari penelitian ini menunjukkan bahwa  tokoh tarling di Indramayu  dibedakan menjadi dua: tokoh perintis dan tokoh pengembang. Tokoh perintis adalah Sugra. Ia hanya menekuni kesenian tarling di wilayah Indramayu, walaupun  pernah bermain tarling di Cirebon. Tokoh pengembang adalah  mereka yang mampu mengembangkan kesenian tarling ke Cirebon, walaupun mereka berasal dari Indramayu. Walaupun Sugra hanya bermain tarling di Indramayu, masyarakat Indramayu tetap menganggap Sugra sebagai perintis tarling. Sugra juga mampu mengajak pemuda Kepandean untuk bermain tarling, walaupun peralatannya masih sederhana. Tugu tarling didirikan di tempat Sugra merintis kesenian tarling. Nama Sugra pun diabadikan menjadi nama gedung kesenian Mama Soegra dan rumah seni  Griya Sugra.The study on Sugra was carried out with the aim of perpetuating the existence of the Indramayu tarling music pioneer for the reason of his less well-known. It used the historical methods with a biographical historical approach. The data was collected by means of interviews, field studies, and literature studies. Studies have shown that the leading figures of tarling music in Indramayu involved the pioneer and the settlers. The pioneer was Sugra. He devoted himself to his work as a tarling musician in Indramayu. Furthermore, he also promoted tarling music in Cirebon. Moreover, settlers were generally those originating from Indramayu and were considered as the key musicians in the development of tarling music in Cirebon. Despite Sugra’s stage was limited in Indramayu, the locals still consider him as the pioneer of tarling.  With his simple musical instruments, he visited a group of youths in Kepandean sub-district, playing music, and conducting sing-alongs. A monument forming tarling musical performance was erected in Indramayu to his memory. His name was even continued in that of two art galleries Mama Soegra and Griya Sugra.

scholarly journals Cultural Acculturation of Yemeni Zapin Dance and Malay Dance in Malaysia As A Means of Islmic Teaching

Jurnal CMES ◽  
2021 ◽  
Vol 14 (1) ◽  
pp. 60
Author(s):  
Hafis Muzakir ◽  
Ahmad Jazuli
Keyword(s):  
Data Collection ◽  
Research Literature ◽  
Musical Instruments ◽  
Point Of View ◽  
Literature Study ◽  
Collection Method ◽  
Historical Approach ◽  
Data Collection Method ◽  
Cultural Diffusion ◽  
Descriptive Qualitative

<p>This research was conducted to explain the cultural acculturation of the Yemeni and Malay zapin dance as a means of da'wah Islamiyah in Malaysia. The method used in this research is descriptive qualitative. In this research, literature study was also carried out as a data collection method. There is a theory in this research, namely the theory of cultural diffusion and from the point of view of a historical approach. The aim of this research is to reveal the acculturation elements of the Yemeni and Malay zapin dance. Then describe the Islamic da'wah function and the value between the two parties behind the zapin dance. The results that can be concluded from the acculturation of the Yemeni zapin dances and the Malay dances in Malaysia are producing all kinds of changes including the elements of dancers, musical instruments, movements, and the lyrics or songs used in these dances.</p>

scholarly journals Мансийские исследования: от истоков к современности

2020 ◽  
Vol 13 (3) ◽  
pp. 743-765
Author(s):  
Natalia A. Koshelyuk ◽  
◽  
Keyword(s):  
20Th Century ◽  
18Th Century ◽  
Field Studies ◽  
Online Research ◽  
Late 20Th Century ◽  
Research Activities ◽  
Language Research ◽  
The 19Th Century ◽  
Historical Methods ◽  
First Time

Introduction. The article reviews background studies on the Mansi language and its dialects performed by European and Russian (Soviet) linguists. Goals. The paper seeks to provide a comprehensive historical description of Mansi language research. Methods. The descriptive and comparative-historical methods have been employed thereto. Results. The work arranges the studies chronologically — from earliest research activities to contemporary ones — highlighting most essential achievements. Mansi is one of the least studied languages with earliest written accounts dating to the 16th-17th centuries. The earliest Mansi dictionaries were compiled by explorers and missionaries (I. Kuroedov, S. Cherkalov, P. S. Pallas, etc.) in the 18th century. In the 19th century, the Mansi language officially became a subject of scientific research, and expeditions by Finnish and Hungarian linguists (Antal Reguly, August Engelbrekt Ahlqvist, Bernát Munkácsi, Artturi Kannisto) proved the first field studies. In the 20th century, quite a number of European scientists have contributed to Mansi language research, namely: W. Steinitz, L. Honti, K. F. Кarjalainen, M. Bakró-Nagy, K. Rédei, M. Szilasi, and others. In Russia, the first Mansi studies were initiated by Soviet scholars in the 1930s (V. Chernetsov, A. Balandin). Studies in spoken Mansi evolved into a national Cyrillic alphabet, and for the first time ever there were published comprehensive works dealing with Mansi studies, textbooks on Mansi phonetics, morphology, and grammar. Experimental phonetic explorations emerged in the mid-to-late 20th century resulting in new Mansi dictionaries (A. Sainakhova, T. FrankKamenetskaya, E. Rombandeeva, and others). Mansi studies in the 21st century in Russia and Europe have reached a brand new level: there appeared online research laboratories and linguistic platforms which make it possible to further investigate the Mansi language and verify up-to-date materials.

Sharing John Blacking

2018 ◽  
pp. 214-238
Author(s):  
Andrea Emberly ◽  
Jennifer C. Post
Keyword(s):  
Case Studies ◽  
Western Australia ◽  
Historical Data ◽  
Musical Instruments ◽  
Musical Performance ◽  
Children's Music ◽  
Field Recordings ◽  
Performance Context ◽  
The University ◽  
Supporting Materials

As ethnomusicological collections become accessible to individuals, communities, and institutions beyond the scope of the original collector, their contents are often repurposed, reimagined, and reinformed. With the growing engagement with repatriation by archives, individuals, and institutions, field recordings, fieldnotes, images, and other supporting materials offer tangible and intangible records of musical performance, context, and historical data to scholars and the communities that first offered their music for scholarly research. Drawing from the Vhavenda materials in the John Blacking collection housed at the University of Western Australia, this chapter uses two case studies, on children’s music and musical instruments, to explore some of the myriad issues surrounding the repatriation of a historical ethnomusicological collection. The goal is to help shape how future archivists, scholars, and communities engage with archiving and repatriating ethnomusicological collections.

Semiotic approaches to “traditional music”, musical/poetic structures, and ethnographic research

Semiotica ◽  
2019 ◽  
Vol 2019 (229) ◽  
pp. 123-150
Author(s):  
Irene Theodosopoulou
Keyword(s):  
Field Research ◽  
Traditional Music ◽  
Musical Instruments ◽  
Musical Performance ◽  
Ethnographic Research ◽  
Analysis Tool ◽  
Musical Analysis ◽  
Semiotic Approach ◽  
Modal Systems

AbstractThis text is a first attempt of approaching traditional music, musical/poetic structures and ethnographic research semiotically. The basic elements of traditional music (motives, rhythms, phonetics, performance speeds, modal systems, musical instruments, repertoire), the musical/poetic structures with morphological types and formulas (musical and poetic), musical and non-musical codes (verbal and nonverbal) during a musical performance (nods, movements, etc.) as well as the ethnographic research itself with its own “performances” (discussions with musicians, recordings, transcriptions, analyses) constitute groups of “signs” and codes that, combined together, create complex frames of meanings and re-definitions not only among musicians and revelers but also among ethnographers and their interlocutors and among ethnographic “texts” and their representations after multiple readings. This text presents elements that emerged after an enduring field research in Crete (1998–2008). The use of semiotics in the study of traditional music and musical analysis can constitute a useful analysis tool for ethnographic research from planning to composing ethnographic “texts” (texts, transcriptions, analyses). This text highlights the necessity of initiating a dialogue concerning the aspects and perspectives of a semiotic approach to musicology and music ethnography.

Timbral perception is influenced by unconscious presentation of hands playing musical instruments

2021 ◽  
pp. 174702182110480
Author(s):  
Hirokazu Doi ◽  
Kazuki Yamaguchi ◽  
Shoma Sugisaki
Keyword(s):  
Visual Information ◽  
Visual Image ◽  
Sound Quality ◽  
Musical Instruments ◽  
Musical Performance ◽  
Conscious Awareness ◽  
Crossmodal Integration ◽  
Musical Sound ◽  
Musical Tone

Timbre is an integral dimension of musical sound quality, and people accumulate knowledge about timbre of sounds generated by various musical instruments throughout their life. Recent studies have proposed the possibility that musical sound is crossmodally integrated with visual information related to the sound. However, little is known about the influence of visual information on musical timbre perception. The present study investigated the automaticity of crossmodal integration between musical timbre and visual image of hands playing musical instruments. In the experiment, an image of hands playing piano or violin, or a control scrambled image was presented to participants unconsciously. Simultaneously, participants heard intermediate sounds synthesised by morphing piano and violin sounds with the same note. The participants answered whether the musical tone sounded like piano or violin. The results revealed that participants were more likely to perceive violin sound when an image of a violin was presented unconsciously than when playing piano was presented. This finding indicates that timbral perception of musical sound is influenced by visual information of musical performance without conscious awareness, supporting the automaticity of crossmodal integration in musical timbre perception.

Positional principle in practice of training to game on the keyboard of organno-piano type

2013 ◽  
pp. 73
Author(s):  
Sergei Algin
Keyword(s):  
Technical Skill ◽  
Musical Instruments ◽  
Technical Training ◽  
Musical Performance ◽  
Basic Material ◽  
Professional Musicians ◽  
Theoretical Methods ◽  
Basic Conclusion ◽  
Accurate Definition ◽  
The Given

Questions of perfection of technical skill of the musician attracted performers, teachers, academics at all times. This interminable problem of musical pedagogy represented by various schools of performance: L. S. Auer, R. N. Bazhilin, L. A. Barenbojm, O. A. Bloh, F. B. Buzoni, V. P. Vlasov, L. Godovsky, A. B. Goldenvejzer, I. Hoffmann, N. A. Davidov. M. Egorov, M. I. Imhanitsky, A. D. Korto, N. A. Kravtsov, Ф. R. Lips, F. List, V. H. Mazel, K. A. Martinsen, and. M. Mirek, M. Moshkovsky, G. G. Nejgauz, A. I. Poletaev, N. I. Rizol, V. A. Semyonov, S. E. Fejnberg, G. M. Tsypin, G. I. Shahov, F. F. Chopin, O. F. Shulpjakov, Ю. G. Jastrebov and many other. However, questions of technical training of musicians – performers by positional principle as basis of the organization of moves in musical performance are not enough developed in musical pedagogy. In the majority of the theoretical works, to some extent concerning questions of perfection of technical skill, this problem is not considered as system, in a complex. Till now there is no accurate definition, there is no unified valid term, which would be considered theoretically. All it leads to set of various approaches to studying this question and essentially reduces process of preparation of professional musicians – performers in the field of performance on musical instruments. So, this article is devoted for one of the main elements in development of performing technique on the keyboard of organ-piano type (a piano, an accordion, Kravtsov's free – bases keyboard) – for a positional principle. The concept and structure are considered of the given principle, and also are given some methodical recommendations about its realization. As the basic material for this article are used monographs, articles, the dissertational researches devoted to questions of development of the performing technique, considering various sides of positional principle of training have served. In article are used as general-theoretical methods (the analysis, generalization, ordering), and empirical (supervision). The basic conclusion of article is that the positional principle allows to add and concretize a number of the important questions in the theory and method of training on the organ-piano keyboard, concerning formations of method of performance of the musician and to approach more effectively to development of highly skilled experts in the field of performance by musical instruments, and also produce propitious conditions for technical development of mechanical skills of the musician and brings for it technique, discipline and organization.

The Historical Approach to the Theory of Diagnosis

1973 ◽  
Vol 122 (568) ◽  
pp. 245-250 ◽  
Author(s):  
Humphrey Richardson
Keyword(s):  
Clinical Work ◽  
Scientific Methods ◽  
Historical Approach ◽  
Historical Methods ◽  
Theory Of Diagnosis

In this paper I shall discuss certain problems which arise in the theory of diagnosis and argue that there is a case for applying historical methods, as distinguished from scientific methods, as a possible approach towards solving them; and attempt also to show that such an approach may have value for generating research as well as being of practical use in clinical work.

scholarly journals Industri Rumah Tangga Keripik Pisang Koisna di Kecamatan Mangkutana, 2003-2017

2019 ◽  
Vol 6 (3) ◽  
pp. 40
Author(s):  
Meriam Meriam ◽  
Rasyid Ridha ◽  
Patahuddin Patahuddin
Keyword(s):  
Industrial Development ◽  
Food Industry ◽  
Social Impact ◽  
Field Studies ◽  
Economic Life ◽  
Industrial Workers ◽  
Industrial Impact ◽  
The Many ◽  
Historical Methods

Penelitian ini bertujuan untuk mengetahui latar belakang berdirinya industri rumah tangga, perkembangan  industri, dan dampak industri. Batasan awal penelitian ini diambil pada tahun 2003 karena pada tahun ini merupakan awal mulanya usaha industri rumah tangga keripik pisang Koisna di Mangkutana didirikan. Batasan akhirnya adalah tahun 2017 yang  merupakan periode yang menjelaskan perkembangan industri rumah tangga keripik pisang Koisna di Mangkutana. Penelitian di lakukan melalui studi lapangan dan kajian pustaka dengan mengunakan metode sejarah melalui beberapa tahapan kerja, yaitu heuristik, kritik, interpretasi, dan historiografi. Hasil penelitian ini menunjukkan bahwa industri  rumah tangga keripik  pisang  Koisna berdiri dan dilatar belakangi oleh adanya seorang karyawan yang telah di PHK sehingga berkeinginan untuk membentuk industri makanan dengan mengolah pisang tersebut. Perkembangan industri makanan keripik ini dalam kurun waktu 2003-2017 telah membawa perubahan dalam hal produksi yang meningkat dari tahun ke tahun dengan mengikuti musim buah. Kehadiran industri rumah tangga keripik pisang Koisna membawa dampak sosial dalam hal perubahan interaksi yang semakin kuat dengan pekerja industri. Selain itu, keberadaan industri rumah tangga di Mangkutana telah membantu kehidupan perekonomian masyarakat dalam  hal memberikan lapangan kerja.Kesimpulan bahwa dalam  perkembangan industri keripik pisang di Mangkutana selalu mengalami peningkatan setiap tahun. Hal ini karena banyaknya permintaan dari konsumen. Pemasaran keripik pisang Koisna ini telah sampai di luar Mangkutana dan sampai sekarang sudah lebih banyak di pesan dari berbagai konsumen. Kata Kunci : Industri, Keripik, dan Mangkutana AbstractThis study aims to determine the background of the establishment of the home industry, industrial development, and industrial impact. The initial limitation of this study was taken in 2003 because this year was the beginning of the Koisna banana chips home industry in Mangkutana. The final limit is 2017 which is the period that explains the development of the Koisna banana chip home industry in Mangkutana freightana.The research was conducted through field studies and literature studies using historical methods through several stages of work, namely heuristics, criticism, interpretation, and historiography.The results of this study indicate that the home industry of Koisna banana chips stands and is motivated by the existence of an employee who has been laid off so that he wishes to form a food industry by processing the banana. The development of the chip food industry in the period 2003-2017 has brought changes in terms of production which increased from year to year by following the fruit season. The presence of the Koisna banana chips home industry has a social impact in terms of changing interactions that are getting stronger with industrial workers. In addition, the existence of a home industry in Mangkutana freightana has helped the community's economic life in terms of providing employment.The conclusion that in the development of the banana chips industry in Mangkutana freightana is always increasing every year. This is because of the many requests from consumers. The marketing of Koisna banana chips has reached outside Mangkutana conveyana and until now it has been mostly ordered by various consumers.Keywords: Industry, Chips, and Mangkutan

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