scholarly journals Fungsi Musik dalam Ritual Tiban di Desa Purwokerto Kecamatan Ngadiluwih Kabupaten Kediri

2021 ◽  
Vol 20 (1) ◽  
pp. 14-28
Author(s):  
Viesta Agustina ◽  
Muhammad Nur Salim
Keyword(s):  
Emotional Expression ◽  
Community Integration ◽  
Music Performance ◽  
Social Institutions ◽  
Dry Season ◽  
Ritual Music ◽  
Cultural Sustainability ◽  
The People ◽  
Physical Reaction

The article entitled "The Function of Music in Tiban Rituals in Purwokerto Village, Ngadiluwih District, Kediri Regency" focused on the issue of Tiban ritual forms, Tiban ritual music performance and the function of Tiban ritual music. The results showed that the Tiban ritual was held during the long dry season with the aim for asking for rain through whipping by the perpetrators or what is called petiban. The people believe that the Tiban ritual can bring rain by means of media of blood dripping on the ground. Tiban music has several motifs in the wasp structure that characterizes it. Tiban music has an important function in Tiban rituals. The functions of music include the function of emotional expression, aesthetics, communication, physical reaction, legalization of social institutions and religious ceremonies, cultural sustainability, and community integration.

Bentuk dan Fungsi Musik Dol pada Masyarakat Kota Bengkulu

2020 ◽  
Vol 5 (1) ◽  
Author(s):  
Irfan Kurniawan ◽  
Zelly Marissa Haque
Keyword(s):  
Community Integration ◽  
Music Performance ◽  
Social Institutions ◽  
Emotional Disclosure ◽  
Cultural Continuity ◽  
Form And Function ◽  
The People ◽  
And Function ◽  
The City

<p align="center"><strong>Abstract</strong></p><p><em>This article discusses the form and function of Dol music in Bengkulu city society. This study uses qualitative methods, data collection is done by observation, interviews, and documentation. </em><em>The results of this study indicate that Dol music is an important element integrated in the Tabot ritual procession in the city of Bengkulu. 3 Dol music reporters in carrying out Tabot rituals, namely tamatam, swena, and sweri. The role of Dol music in the procession is to express the musical spirit of ritua tabot namely struggle, war and sadness. The existence of Dol music performance both in the context of Tabot rituals, as well as its development outside the Tabot event contest, has important values and functions for the community namely; 1) Functioning as entertainment for the community, 2) The function of emotional disclosure, seen from the emotional overflow of players in the </em><em>“beruji Dol” 3) functions as a ratification of social institutions, in this case Dol music is an important requirement in the Tabot ceremony, 4) symbolic function, as a symbol manifested through musical aspects expressing sadness or the spirit of warfare, 5) the function of community integration, uniting the community in togetherness and being involved in the wisdom of the Tabot ceremony, and 6) the function of cultural continuity; the existence of Dol music as a form of effort to preserve and strengthen the cultural identity of the people of Bengkulu city.</em></p><p><strong><em>Keywords : </em></strong><em>Dol music, Tabot </em><em>Rital, Form, Function</em></p><p class="SammaryHeader" align="center"><strong>Abstract</strong></p><p><em>Artikel ini membahas tentang bentuk dan fungsi musik Dol dalam kehidupan masyarakat kota Bengkulu. Penelitian ini menggunakan metode kualitatif, pengumpulan data dilakukan dengan teknik observasi, wawancara, dan dokumentasi. Permasalahan dibahas melalui deskriptif analisis. Hasil penelitian ini menunjukan bahwa musik Dol merupakan unsur penting yang terintegrasi dalam prosesi upacara Tabot di kota Bengkulu. Terdapat 3 reportoar musik Dol dalam pelaksanaan upacara Tabot yakni tamatam, swena, dan sweri. Adapun  peran musik Dol pada prosesi tersebut adalah mengekspresikan secara musikal </em><em>spirit</em><em> dari upacara yakni perjuangan,</em><em> perperangan </em><em>dan </em><em>kesedihan</em><em>.</em><em> Keberadaan seni pertunjukan musik Dol baik dalam konteks ritual Tabot, maupun perkembangnganya diluar kontes uapacara Tabot, memiliki nilai dan fungsi penting bagi masyarakatnya yakni; 1) Berfungsi Sebagai hiburan bagi masyarakat, 2)Fungsi pengungkapan emosional, terlihat dari peluapan emosional pemain pada prosesi “beruji Dol” 3) berfungsi sebagai pengesah lembaga sosial, dalam hal ini musik Dol merupakan syarat penting dalam upacara Tabot, 4) fungsi perlambangan, sebagai simbol yang diwujudkan melalui aspek musikal yang mengekspresikan kesedihan ataupun spirit perperangan, 5) fungsi pengintegrasian masyarakat, menyatukan masyarakat dalam kebersamaan dan terlibat dalam hikmatnya upacara Tabot, dan 6) fungsi kesenambungan budaya; eksistensi musik Dol sebagai bentuk usaha pelestarian dan penguatan idenitas budaya masyarakat kota Bengkulu.</em></p><strong><em>Kata kunci : </em></strong><em>Musik Dol, upacara Tabot, Bentuk, Fungsi</em>

scholarly journals Bentuk dan Fungsi Musik Dol pada Masyarakat Kota Bengkulu

2021 ◽  
Vol 5 (1) ◽  
Author(s):  
Irfan Kurniawan ◽  
Zelly Marissa Haque
Keyword(s):  
Community Integration ◽  
Music Performance ◽  
Social Institutions ◽  
Emotional Disclosure ◽  
Cultural Continuity ◽  
Form And Function ◽  
The People ◽  
And Function ◽  
The City

This article discusses the form and function of Dol music in Bengkulu city society. This study uses qualitative methods, data collection is done by observation, interviews, and documentation. The results of this study indicate that Dol music is an important element integrated in the Tabot ritual procession in the city of Bengkulu. 3 Dol music reporters in carrying out Tabot rituals, namely tamatam, swena, and sweri. The role of Dol music in the procession is to express the musical spirit of ritua tabot namely struggle, war and sadness. The existence of Dol music performance both in the context of Tabot rituals, as well as its development outside the Tabot event contest, has important values and functions for the community namely; 1) Functioning as entertainment for the community, 2) The function of emotional disclosure, seen from the emotional overflow of players in the “beruji Dol” 3) functions as a ratification of social institutions, in this case Dol music is an important requirement in the Tabot ceremony, 4) symbolic function, as a symbol manifested through musical aspects expressing sadness or the spirit of warfare, 5) the function of community integration, uniting the community in togetherness and being involved in the wisdom of the Tabot ceremony, and 6) the function of cultural continuity; the existence of Dol music as a form of effort to preserve and strengthen the cultural identity of the people of Bengkulu city.

CULTURE OF THE RUSSIAN WORLD - A SPIRITUAL SLOGAN FACTOR OF VICTORY IN THE GREAT PATRIOTIC WAR

2020 ◽  
Vol 10 (2) ◽  
pp. 169-173
Author(s):  
VLADIMIR KSENOFONTOV ◽  
Keyword(s):  
Emotional Expression ◽  
Front Line ◽  
Soviet People ◽  
The People ◽  
Great Patriotic War ◽  
Red Army ◽  
Art Activities ◽  
Artistic Images ◽  
Great Victory

The article reveals the essence and specificity of culture as an important component of the spiritual factor of victory. Special attention is paid to the characteristics of fiction. The article substantiates the moral and aesthetic impact on the consciousness of defenders of the Motherland, such works of art as“They fought for the Motherland”,“Leningrad poem”,“Russian character”,“Invasion”, etc. The article describes the significant role of theatrical art, which reveals the moral values of the people and Soviet soldiers. This is reflected in such plays as: “the Front”; “the Guy from our city”; “Once upon a time”, etc. The article substantiates the important role of the spiritual influence of cinema on Soviet people. This influence was realized through artistic images of selfless service to the Motherland, loyalty to military duty. Among these films: “Two fighters”, “Wait for me”, “Front-line friends”. During the war, as the article emphasizes, an important component of the spiritual factor of victory was the musical art. Activities in this area of culture famous musicians:B. Astafiev, S. Prokofiev, D. Shostakovich, A. Alexandrov, V. Soloviev-Sedoy, and others, was implemented in operas, symphonies, cantatas and songs, which by their nature emotional expression differed Patriotic and epic strength. The purpose of the research : to reveal the axiological components, culture of the Russian world, as important components, spiritual factor during the great Patriotic war. Conclusions : the culture of the Russian world at various stages of the great Patriotic War, through a variety of means and forms, actively mobilized all Soviet people to defend the Motherland and defeat Nazi Germany. The spiritual culture of our country and its types, in the course of functioning, during the war, clearly and expressively revealed the idea of patriotism, courage, bravery and heroism, and encouraged the Soviet people, the soldiers of the red Army, to achieve a great Victory.

Legitimizing Transformation without Calling it Change:Tajdīd, Iṣlāḥ, and Saudi Arabia’s Place in the Contemporary World

2015 ◽  
Vol 2 (1-2) ◽  
pp. 55-70
Author(s):  
Sean Foley
Keyword(s):  
Saudi Arabia ◽  
Political System ◽  
New Technologies ◽  
Social Institutions ◽  
Advanced Technology ◽  
The West ◽  
Contemporary World ◽  
The People ◽  
Diverse Society ◽  
Oil Revenues

For decades, many scholars have contended that Saudi Arabia is a fixed political system, where a conservative monarchy uses advanced technology, oil revenues, and religion to dominate the people. Such a system is often portrayed as inherently unstable, a seemingly never-ending series of collisions between an unchanging traditional political structure seeking to hold on to power at any cost and a dynamic modernity—a view encapsulated in a phrase expressed at virtually every public discussion of the Kingdom in the West: ‘you must admit that Saudi Arabia must change’. Ironically this phrase confirms what this article argues is a secret to the success of Saudi Arabia in the contemporary era: the ability to legitimize transformation without calling it change. No society is static, including Saudi Arabia. Throughout the Kingdom’s history, the defining social institutions have repeatedly utilized Tajdīd (Revival) and Iṣlāḥ (Reform) to respond to new technologies and the changing expectations of a diverse society. While Muslim scholars are most often entrusted to arbitrate this process, ordinary Saudis use this process to guide their actions in the various social spaces they encounter both at home and abroad. Critically, this process reflects the response of King Abdulaziz and the founders of the third Saudi state in the early twentieth century to the factors that had brought down previous Saudi states in the nineteenth century.

scholarly journals Effects of Riverbed Extraction on Ground Water Resources in the Vicinity of Tinau River, Rupandehi

2013 ◽  
Vol 13 (2) ◽  
pp. 133-140 ◽  
Author(s):  
Khet R Dahal ◽  
Chandra P Poudyal ◽  
Prajwal Adhikari ◽  
Subodh Sharma ◽  
Jitendra Ghimire
Keyword(s):  
Low Income ◽  
Local Governance ◽  
Flood Plain ◽  
Dry Season ◽  
Income Generation ◽  
Plain Area ◽  
The People ◽  
Tube Wells ◽  
Medium Level ◽  
Dug Well

CORRECTION: The correct PDF for this article was loaded on 22/04/2013.The study was carried out in the vicinity of the Tinau river, Rupandehi, Nepal from July 2011 to June 2012. Ten number of shallow tube wells (STWs) of depths 5.18 m to 7.62 m, four shallow tube wells (STWs) of depths 28.96 m to 36.58 m. from Amawa and Farsatikar Village Development Committees and one dug well (DW) from Butwal Municipality were selected for the purpose of this study. The depth of the STWs was different but many STWs were of 6.09 m deep. The DW was of 18.29 m. The information was collected from the owners during field visit of the sites. A standard questionnaire was prepared and asked to the affected persons. The site observation was done in the dry season as well as in the rainy seasons. It was found that the extraction of riverbed materials from the river channel and the flood plain area has adversely affected the aquatic environment of the Tinau river. Massive extraction of the riverbed materials from this river started after the enforcement of local governance act, and regulation 1999. The income generated from the riverbed materials is quite enough. This is one of the major sources of income generation of DDC Rupandehi and the VDCs attached to this river (from Butwal to Bethari). The depth of the river increased due to extraction activities as a result groundwater table lowered. The STWs having depth of 5.18 to 7.62 m stopped discharging water from the aquifer in the dry season. Similarly DW of Butwal municipality having depth of 18.29 m stopped discharging water at dry season. But the STWs of depths from 28.96 m to 36.58 m. located at the same area/site were not affected by the extraction in the Tinau river. The people, who are residing on the bank of the river Tinau, suffered from drinking water problem because they are using the water from STWs. The effect is directly facing the people of low and medium level having low income generation. The extraction activity is going on and the deficit of water availability in STWs and DW is common in the vicinity of the Tinau river especially in the upstream (from Butwal to Paschim Amawa), whereas there is less effects of riverbed extraction for STWs of depths more than 27.43 m in the same sites. Nepal Journal of Science and Technology Vol. 13, No. 2 (2012) 133-140 DOI: http://dx.doi.org/10.3126/njst.v13i2.7726

scholarly journals Function of Traditional Music Karo Gendang Lima Sedalanen in Implementation of Erpangir Kulau Ceremony

2020 ◽  
Vol 3 (2) ◽  
pp. 734-739
Author(s):  
Octaviana Tobing
Keyword(s):  
Emotional Expression ◽  
Traditional Music ◽  
Cultural Preservation ◽  
Social Response ◽  
Strong Energy ◽  
The People ◽  
Music Ensemble ◽  
Supporting Element

Erpangir kulau is a term or name created by the Karo community to express a tradition of religious ceremonies or self-cleansing rituals in the Karo community, which uses Karo traditional music, ensemble Gendang Lima Sedalanen, as a supporting element of its implementation. The purpose of this study was to determine the Function of Traditional Music Karo Gendang Lima Sedalanen in Implementation of the Erpangir Kulau Ceremony. The results showed that the five functions according to the Kustap theory were fulfilled by the use of the ensemble Gendang Lima Sedalanen. In its function as an emotional expression, it can be seen from how the ensemble has a strong energy to bring out the emotions of all the actors involved in carrying out the religious ceremonial activities, so that various attitudes of the ceremonial participants appear. Whereas in its function as a communication is realized during the ongoing communication between guru sibaso  who act as a medium between the spirit that is believed to be present, and the people who carry out pangir. Furthermore, the function of Gendang Lima Sedalanen as a social response arises from how the entire Karo community with various temperaments, but can unite to carry out this ceremony. When it functions as a cultural preservation fulfilled through its use in the ritual Erpangir Kulau ritual, it is a form of appreciation and love for their culture. Finally, in its function as a symbol representation is realized through guru sibaso who is a symbol of someone who has his own expertise or prestige.

scholarly journals Gondang Hasapi in Holding Ritual Parmalim Si Pahasada (Study of the Shapes of Gondang and its Functions)

2019 ◽  
Vol 2 (1) ◽  
pp. 138-144
Author(s):  
Esra P.T Siburian
Keyword(s):  
Response Function ◽  
Subject Matter ◽  
Qualitative Method ◽  
Community Integration ◽  
Social Institutions ◽  
Cultural Continuity ◽  
Religious Ritual ◽  
Physical Response ◽  
The Subject ◽  
North Sumatra

This paper aims to discuss the existence of a form of gondang at the ritual ceremony of Si Pahasada, and how its function at the ritual ceremony of Si Pahasada in Huta High of North Sumatra is the subject matter to be discussed. The method used in this study is by using descriptive qualitative method. Collecting data is done through observation, interview, documentation, and bibliography. In this study it is found that there are 12 dishes reportoar gondang kesumpaan presented during this ritual. In this study also found eight functions of gondang in the ritual of Parmalim Si Pahasada, namely: 1) Aesthetic function, 2) communication functions, 3) symbolic functions, 4) physical response function, 5) enforcing social norms, 5) validation of social institutions. 6) religious ritual function, 7) cultural continuity and stability, 8) contribution to community integration.

scholarly journals World local government control and reference value for Vietnam

2021 ◽  
Vol 63 (4) ◽  
pp. 29-33
Author(s):  
Dang Phuc Vu ◽  
◽  
Thi Thanh Nga Nguyen ◽  
Keyword(s):  
Local Government ◽  
Local Governments ◽  
Central Government ◽  
Reference Value ◽  
Social Institutions ◽  
Local Power ◽  
Government Control ◽  
The People ◽  
The Media ◽  
And Control

Control of local governments in countries around the world is very diverse,but mainly divided into two categories: 1) control of state agencies (central government control, court control, control of local power representations); 2) control of social institutions including political party control over local government, control of organizations and public associations, control of the media, and control of the people. The paper focuses on analysing the controlling local governments in some countries, thereby giving reference values for Vietnam.

scholarly journals Automated Analysis of Body Movement in Emotionally Expressive Piano Performances

2008 ◽  
Vol 26 (2) ◽  
pp. 103-119 ◽  
Author(s):  
Ginevra Castellano ◽  
Marcello Mortillaro ◽  
Antonio Camurri ◽  
Gualtiero Volpe ◽  
Klaus Scherer
Keyword(s):  
Emotional Expression ◽  
Temporal Dynamics ◽  
Body Movement ◽  
Music Performance ◽  
The Body ◽  
Head Movements ◽  
Automated System ◽  
Upper Body ◽  
Musical Score ◽  
Motion Cues

EMOTIONAL EXPRESSION IN MUSIC PERFORMANCE includes important cues arising from the body movement of the musician. This movement is related to both the musical score execution and the emotional intention conveyed. In this experiment, a pianist was asked to play the same excerpt with different emotionally expressive intentions. The aim was to verify whether different expressions could be distinguished based on movement by trying to determine which motion cues were most emotion-sensitive. Analyses were performed via an automated system capable of detecting the temporal profiles of two motion cues: the quantity of motion of the upper body and the velocity of head movements. Results showed that both were sensitive to emotional expression, especially the velocity of head movements. Further, some features conveying information about movement temporal dynamics varied among expressive conditions allowing emotion discrimination. These results are in line with recent theories that underlie the dynamic nature of emotional expression.

Migratory Labour from North-Wester Nigeria

Africa ◽  
1957 ◽  
Vol 27 (3) ◽  
pp. 251-261 ◽  
Author(s):  
R. Mansell Prothero
Keyword(s):  
Large Scale ◽  
Source Area ◽  
Dry Season ◽  
Labour Migration ◽  
Agricultural Activity ◽  
Wet Season ◽  
The North ◽  
The People ◽  
Limited Scale ◽  
Opening Paragraph

Opening ParagraphReaders of Africa will be well aware of population migration as a characteristic feature of a continent where movement between one part and another is largely unrestricted as compared with the more settled parts of the world. There is much evidence of large-scale tribal migrations in the past, of the age-old seasonal wanderings of herders, and of recent labour migration to centres of mineral and industrial production, the last particularly in Central and South Africa. Information is more limited concerning the features of labour migration in West Africa at the present day. In general it is thought that migrants leave their home areas, after the harvest at the commencement of the dry season, to seek work elsewhere for a period of from three to six months and then return to take up farming with the commencement of the next rains. The major source area for these migrants is to the north of the tenth parallel where the wet season is concentrated into a period of about four months, thus severely restricting agricultural activity. Cultivation during the dry season is possible only on a very limited scale. There is thus a considerable period of the year when the primary economic activity of the people is not possible. It is logical that they should seek work elsewhere.

Sign in / Sign up

Export Citation Format

Share Document