PROSES PENCIPTAAN MUSIK SUARA SINDHEN: INTERPRETASI GENDHING GINONJING KARYA NUR HANDAYANI

ABSTRAK Karya “Suara Sindhen: Interpretasi Gendhing Ginonjing”, dilatarbelakangi oleh hasil olah pikir sekaligus interpretasi atas Gendhing Ginonjing. Bermula saat pengkarya membaca surat Kartini yang berkisah tentang Gendhing Ginonjing. Kegelisahan Kartini sepurnanya mendengarkan Gendhing Ginonjing, dituangkan lewat surat tersebut dengan sangat dramatis. Esensi surat tersebut, memberikan stimulan kepada pengkarya untuk membuat karya berdasarkan Gendhing Ginonjing. Jika Kartini dapat menuangkan kembali Gendhing Ginonjing secara sastrawi melalui suratnya, pengkarya sebagai pesindhen juga ingin mengungkapkan ulang Gendhing Ginonjing melalui olah pikir musikal dan diwujudkan dengan karya seni orkestrasi sindhen. Dari hasil pengamatan dan analisis, Gendhing Ginonjing dapat dipilah menjadi tiga konsep musikal. Pertama adalah andegan sindhenan Gendhing Ginonjing yang dikembangkan melibatkan wangsalan, abon-abon, parikan, senggakan, serta sekar bebas sebagai unsur teks. Dari unsur lagu, menyajikan perbenturan harmoni adumanis, salahnggumun, kempyung, pendawan, serta gembyang sehingga menciptakan harmoni unik atau nada yang membuat bunyi musik menjadi khas. Kedua adalah komposisi yang berakar dari selingan Gendhing Ginonjing berjudul Lelagon Lelo Ledung, yang digarap dan disajikan dengan model uro-uro atau akapela, dikemas dengan paradigma sindhenan gaya Surakarta, dengan menonjolkan dinamika power suara pesindhen serta memanfaatkan aspek keruangan dengan teknik akustika bunyi surround. Ketiga adalah komposisi yang berakar dari surat Kartini tentang Gendhing Ginonjing. Karya ini merepresentasikan perasaan Kartini yang tertuang dalam surat. Bagian ini menggarap elemen vokal melalui perpaduan berbagai gaya sindhenan meliputi: Jawa Barat, Banyumas, Jawa Tengah, serta Banyuwangi, yang kemudian diformulasikan kembali menjadi konsep musik garapan baru. Penyusunan karya ini menggunakan beberapa metode sebagai langkah penciptaannya, meliputi: menentukan bahan, mencari bahan, mengolah bahan, mengemas bahan, serta mempergelarkannya. Rangkaian tersebut adalah proses dari lahirnya karya “Suara Sindhen: Interpretasi Gendhing Ginonjing”. Kata kunci: Suara Sindhen, Gendhing Ginonjing, Komposisi Musik. ABSTRACT The work of “ Suara Sindhen: Interpretasi Gendhing Ginonjing “ is based on the analysis and interpretation of Gendhing Ginonjing. It started when the creator read Kartini’s letter about Gendhing Ginonjing. Kartini’s anxiety was as easy as listening to Gendhing Ginonjing, written in the letter dramatically. The essence of the letter gives stimulants to the creator to create works based on Gendhing Ginonjing. If Kartini can rewrite Gendhing Ginonjing literally through his letter, a sindhen also wants to reveal Gendhing Ginonjing through musical thought and embodied through the sindhen’s orchestral artwork. From the observation and analysis, Gendhing Ginonjing can be divided into three musical concepts. The first is adegan of Gendhing Ginonjing which is developed involving wangsalan, abon-abon, parikan, senggakan, as well as sekar bebas as the text elements. The elements of song presents a mix of harmoni adumanis, salahnggumun, kempyung, pendawan, serta gembyang and thereby creating a unique harmony or tone that makes a special music sounds. Sec-ondly, the composition is rooted from Gendhing Ginonjing interval entitled Lelagon Lelo Ledung, which is treated and presented with uro-uro or akapela model, packed in Surakarta style paradigm, focusing on the dynamic power of pesindhen voice and utilizing the spatial aspect with the surround sound acoustic tech-niques. The third is a composition based on the Kartini letter about Gendhing Ginonjing. This work represents Kartini’s feeling written in the letter. This section deals with the vowel elements through a combination of various sindhenan styles including: West Java, Banyumas, Central Java, and Banyuwangi, which are then formulated into the concept of new music. The composition of this work uses several methods in its creation, including: determining materials, finding materials, processing materials, packaging materials, and then presenting them. The series tells about the process of the work of “Sindhen Voice: Gendhing Ginonjing Interpretation”. Keywords: Sindhen Voice, Gendhing Ginonjing, Music Composition

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Babbitt’s Beguiling Surfaces, Improvised Inside; Part III: Opportunities

10.30535/smtv.5.3 ◽

2019 ◽

Vol 5 (3) ◽

Author(s):

Joshua Banks Mailman

Keyword(s):

Music Composition ◽

Jazz Improvisation ◽

The Third ◽

Partial Orderings ◽

Compositional Structures ◽

Surface Patterns ◽

Inside Part ◽

Musical Activities

Babbitt’s relatively early composition Semi-Simple Variations (1956) presents intriguing surface patterns that are not determined by its pre-compositional plan, but rather result from subsequent “improvised” decisions that are strategic. This video (the third of a three-part video essay) considers Babbitt’s own conversational pronouncements (in radio interviews) together with some particulars of his life-long musical activities, that together suggest uncanny affiliations to jazz improvisation. As a result of Babbitt’s creative reconceptualizing of planning and spontaneity in music, his pre-compositional structures (partial orderings) fit in an unexpected way into (or reformulate) the ecosystem relating music composition to the physical means of its performance.

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The Finale of Mahler's Fifth Symphony: Long-Range Musical Thought

Journal of the Royal Musical Association ◽

10.1093/jrma/112.2.257 ◽

1987 ◽

Vol 112 (2) ◽

pp. 257-279

Author(s):

Carolyn Baxendale

Keyword(s):

Long Range ◽

Large Scale ◽

New Technique ◽

Musical Thought ◽

Musical Concepts ◽

A New Technique

It is clear that all the experience I had gained in writing the first four symphonies completely let me down in this one- for a completely new style demanded a new technique.Twenty-Five years ago a prominent Mahler enthusiast could describe the finale of Mahler's Fifth Symphony as ‘a windy, uninspired stretch of note-spinning, literally scraping the barrel in search of music’. Few people nowadays would subscribe to this view: indeed the upsurge of interest in the work of other ‘late Romantic’ composers has perhaps served to sharpen our admiration for Mahler's exceptional powers of invention and his no less extraordinary mastery of large-scale form. Yet we are not really any closer to explaining just how such extended works are held together and given shape, particularly in the absence of specific extra-musical concepts such as those of the ‘Wunderhorn’ symphonies.

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Miraculous Agitations: On the Uses of Chaotic, Non-Linear and Emergent Behavior in Acoustic Vibrating Physical Systems

Leonardo Music Journal ◽

10.1162/lmj_a_00089 ◽

2012 ◽

Vol 22 ◽

pp. 35-40 ◽

Cited By ~ 4

Author(s):

Daniel Wilson

Keyword(s):

Music Composition ◽

Nonlinear Behavior ◽

Qualitative Approach ◽

Emergent Behavior ◽

New Music ◽

Physical Systems ◽

Non Linear ◽

Subjective Phenomenon

“Miraculous agitation” denotes an acoustic marvel: a striking sound emerging from vibrating physical systems. A somewhat subjective phenomenon, acoustic marvels are typified by expressive or harmonic richness, and their production is reliant on delicate interrelationships between objects under vibration, often involving chaotic or nonlinear behavior. In some cases it is even possible to observe emergent behavior. Significantly, acoustic marvels may commonly strike the auditor as seeming to be “of electronic origin,” thus pointing toward postelectronic electroacoustic techniques. This paper takes a qualitative approach to the examination of such acoustic marvels and their possible applications in new music composition.

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Working towards the Third Reich

Challenging the Modern ◽

10.5871/bacad/9780197266137.003.0007 ◽

2017 ◽

Author(s):

Nicholas Attfield

Keyword(s):

Third Reich ◽

Nazi Party ◽

Third Culture ◽

National Library ◽

German Culture ◽

Musical Thought ◽

The Third ◽

Fast Fading ◽

The Third Reich

The epilogue contributes to efforts to map continuities in musical thought between the Weimar and Nazi eras, and deals with issues of advocacy. There was not the straightforward rise to influence that is sometimes implied. Walter Abendroth had to overcome Pfitzner’s cantankerousness and fast-fading relevance. Heuss’s work was paraded by Fritz Stege in both the Zeitschrift für Musik and Rosenberg’s Kampfbund für deutsche Kultur (‘Combat League for German Culture’). The Austrian musicologist Robert Haas encountered resistance against the project that, above all, symbolized his intended mediation of the Nazi party, the Austrian National Library, and the International Bruckner Society: the ‘complete edition’ of the composer’s scores. Gustav Wyneken transformed his image of Halm from the cosmopolitan socialist and impassioned music critic of the early 1920s and emphasized Halm’s place in the national pantheon of ignored symphonic composers. Halm became the latest composer-leader in a tradition of syntheses towards which his own work on the ‘third culture’ had pointed.

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Control Interfaces Continued

Max/MSP/Jitter for Music ◽

10.1093/oso/9780199777679.003.0013 ◽

2011 ◽

Author(s):

V. J Manzo

Keyword(s):

Basic Structure ◽

Presentation Mode ◽

Musical Instruments ◽

Object A ◽

The Third ◽

Music Making ◽

Control Interface ◽

Musical Concepts ◽

Physical Abilities ◽

Computer Keyboard

In this chapter, we will look at some innovative ways to control music making as we develop musical instruments. We will look at using your computer keyboard and mouse as performance instruments as well as discuss the use of videogame controllers in your patches. Designing your own custom musical instruments is a great way to tailor the controls to the specific physical abilities of users while allowing them to focus on certain specific musical concepts like pitches, scales, and harmony/chords. 1. Click on Extras>EAMIR from the top menu to view the main menu of the EAMIR SDK 2. In the umenu labeled Examples, click the third item 3.EAMIR _ASCII_Keyboard_Control.maxpat Unlock the patch that opens and look at its basic structure. As you can see, the patch is really just 4 bpatcher objects, 3 of which refer to patches we’ve already looked at. The newest bpatcher, at the top of the patch, is basically just a patch with a key object, a select object, and some fancy graphics—all things you learned to use in Chapter 3. Lock the patch and 3. Type your full name using your computer keyboard. Note that uppercase letters and lowercase letters trigger different buttons 4. Press the number keys 1–8 as these are mapped to message boxes containing numbers used as diatonic chord functions Without the top bpatcher, your patch generates chords in any key simply by clicking the message boxes. The top bpatcher is just a control interface that maps something (keys) to something else (message boxes). 5. Ctrl+click (Mac) or right click (Windows) the top bpatcher and select Object>Open Original “EAMIR_keyboard.maxpat” from the contextual menu This patch is set to open in Presentation mode. Unlock the patch and put it in Patching view. The contents of the patch are as I described: a key object, as well as a keyup object, are connected to two gigantic sel (select) objects containing the ASCII numbers for all the available characters on the computer keyboard nothing you couldn’t already do. In fact, the most impressive part of this patch, in my opinion, is the graphical part of it.

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Die makrososiale ruimte van die Boek van die Wagte (1 Henog 1-36)

HTS Teologiese Studies / Theological Studies ◽

10.4102/hts.v58i4.707 ◽

2002 ◽

Vol 58 (4) ◽

Author(s):

P.M. Venter

Keyword(s):

Social Space ◽

Social World ◽

Third Century ◽

Wisdom Literature ◽

The Third ◽

The Bible ◽

Enoch 1 ◽

Spatial Aspect ◽

Book Of The Watchers ◽

1 Enoch

The macro social space of the Book of the Watchers (1 Enoch 1-36)An analysis of the material of the Book of the Watchers ( 1 Enoch 1-36) indicates a preference for the spatial aspect in these revelation narratives. In an attempt to understand this preference, an investigation is launched into the macro social world of the narratives. Themes in Enoch from literature in the Bible, the Syro-Phoenician world, Pseudo Epolemus, Zenon Papyri, Persia and Greece, are identified. Ptolemean Palestine is also investigated as the context within which an Enochic tradition was formed. Amongst other traditions an opposing Mosaic Judaism and Enochic Judaism are identified. Both take up the challenges of the third century with its Hellenistic onslaught and explosion of knowledge. The Book of the Watchers represents an Enoch tradition, which forms an early trajectory of apocalyptic thinking, and which is being influenced by various traditions such as wisdom literature in its mantic form, cosmological schemes of the world, and mythic traditions.

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Development of electronic music in Ukraine: emergence of a research methodology

Organised Sound ◽

10.1017/s1355771807001811 ◽

2007 ◽

Vol 12 (2) ◽

pp. 153-165 ◽

Cited By ~ 1

Author(s):

Alla Zagaykevych ◽

Ivan Zavada

Keyword(s):

Research Methodology ◽

Electronic Music ◽

Cultural Context ◽

Music Composition ◽

Current Situation ◽

New Music ◽

Music Practice ◽

New Methods ◽

Musical Systems

AbstractIn this article the authors present an overview of the current situation in Ukraine, with regards to the question of analytical terminology applied to new methods of creation in electronic music composition. The article establishes the differences and the similarities between the analyses of instrumental and electronic music structures, while considering the role of technology in the creation of new electronic music works. This paper also establishes a link between the origin of current analytical processes and electronic music practice in Ukraine, taking into account the function of a given terminology and its characteristic elements relating to a local geographical and cultural context. The authors underline the importance of integrating new music forms in academic circles and discuss external influences in the development of new musical systems. This is demonstrated by exposing selected musical materials, which can be considered representative of the creative and theoretical processes found in the field of electronic music in Ukraine.

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Red, Yellow, Or Green: Which Colors Are Your Co-Operatives?

EKO-REGIONAL JURNAL PENGEMBANGAN EKONOMI WILAYAH ◽

10.20884/1.erjpe.2020.15.1.1535 ◽

2020 ◽

Vol 15 (1) ◽

Author(s):

Novita Puspasari ◽

Meutia Karunia Dewi ◽

Tiladela Luhita

Keyword(s):

Financial Management ◽

Business Development ◽

Fourth Dimension ◽

Four Dimensions ◽

The Third ◽

Central Java ◽

Management Capacity ◽

Green Areas ◽

Result Show ◽

The Government

Co-operative is a socio-economic institution which is the most appropriate for Indonesian economic system. Indonesia has the largest number of co-operatives in the world, however, they have not contributed optimally for the Indonesian economy. Co-operative trainings held by the government failed to improve co-operative’s quality, since those trainings were not based on co-operative’s real needs. This study aims to identify and map areas of action for future development of the co-operatives. Using modified Development Ladder Assessment (DLA) as a tool, 74 co-operatives in Central Java, Indonesia, were measured. Four dimensions were assessed using DLA: 1) vision, 2) governance and member engagement, 3) management capacity and business development, and 4) financial management. Total score for each dimension determines whether co-operative is in red, yellow or green areas. Red means poor, yellow means moderate, and green means excellent. Most of the co-operatives are poor in the first (vision) and the third (management capacity and business development) dimensions. The Co-operatives were also found to have moderate governance and member engagement (the second dimension). Finally, the result show that financial management (the fourth dimension) has been well-implemented. Implication of this study is that co-operatives are suggested to get appropriate trainings based on their color areas.

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EVALUASI KESEIMBANGAN AIR DI PROVINSI JAWA TENGAH

Jurnal Air Indonesia ◽

10.29122/jai.v3i2.2338 ◽

2018 ◽

Vol 3 (2) ◽

Author(s):

Sutopo Purwo Nugroho

Keyword(s):

Water Supply ◽

Tap Water ◽

Water Rights ◽

Water Shortage ◽

The Third ◽

Central Java ◽

Agriculture Industry ◽

Exclusive Right ◽

Irrigation Agriculture ◽

Central Java Province

Water supply for the domestics use of Central Java Province has been experiencing problems and challenging. With population of 35 million or 16% of Indonesia, it place the province as the third in national population. It have consequently, water need in the province is as such for use of domestics, irrigation/agriculture, industry, etc. Several counties within the province has experiencing water shortage. Particularly during dry season, defisits is inclining that results water use conflicts. Furthermore, conflicts occur not only in counties with water shortage but also in county with sufficient water supply. Conflict is generally triggered by weak management and allocation. This is a result of unlimited territorial sovereighnity of water resources and uncertainty of water rights. Unlimited territorial sovereighnity of water resource contain exclusive right to utilize tap water within the territorial right, in way that the territory hold the sole right to exploit the resource without compensation to neighbouring territory. Hence, water balance should be investigated better and comprehensively. Kata kunci: keseimbangan air, konflik, sumber daya air, Jawa Tengah.

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PENGARUH USIA DAN JENIS KELAMIN PADA KEPATUHAN PASIEN DIABETES MELITUS MENGGUNAKAN OBAT ANTIDIABETES DI PERUM KETAPANG SOKARAJA KULON

Viva Medika: Jurnal Kesehatan, Kebidanan dan Keperawatan ◽

10.35960/vm.v10i2.443 ◽

2019 ◽

Vol 10 (2) ◽

pp. 76-81

Author(s):

Ikhwan Yuda Kusuma

Keyword(s):

Drug Information ◽

Third Place ◽

Chi Square ◽

The Third ◽

Central Java ◽

The World ◽

Chi Square Test ◽

Survey Results ◽

Central Java Province ◽

Diabetes Melitus

ABSTRACT The WHO survey results show that the number of DM patients in Indonesia is ranked the 4th largest in the world. DM causes death by 5% every year. Deaths from DM are expected to increase by 50% in the next ten years. The results of the 2007 Central Java RISKESDAS showed that the prevalence of DM in Central Java province was 0.8% and overall was 1.3%. The highest prevalence is found in Cilacap Regency (3.9%), second place is Tegal City Regency (3.1%), for the third place is Surakarta (2.8%), fourth place is Pemalang (2.1%), and fifth place is occupied by Banyumas (1.9%) (Ministry of Health, 2009). This study used an experimental design by treating the group of cases. The research instruments in this study were interview guides about the number of remaining antidiabetic drugs to check the compliance and MMAS questionnaires that had been validated and translated into Indonesian versions (Setyaningsih, 2013). The results of data analysis using the Chi-Square test were obtained p = 0.220 (p> 0.05) based on the MMAS questionnaire, this indicates that this indicates that this study of age has a significant influence on the adherence of antidiabetic use in DM patients in Perum Ketapang Sokaraja Kulon. Keywords: Age, Diabetes Mellitus, Drug Information

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