Serangan Empat Hari Di Surakarta Sebagai Sumber Penciptaan Karya Tari Tekad

The research entitled Tekad choreography by Zhola Verucha Taruna aims to find out and explain descriptively about the form of Tekad choreography, which includes the creation process. The theoretical basis used is the theory of structure, according to Suzanne K. Langer. The creation process uses the thoughts of Alma H. Hawkins and uses the approach of Sumandiyo Hadi to explain the choreographic elements. The method used in this research is Practice-Based Research.The results showed that the choreography of Tekad by Zhola Verucha Taruna was non-literal. This dance form consists of four parts. The use of everyday movements is varied with the Aikido movement of the Muso Jihiden Eishin Ryu flow, which has been developed and uses the ideas of the katana as a symbol property of determination. While the music used is music in the form of MIDI (Musical Instrument Digital Interface), and lighting is more about spatial attitudes. The process of creating this dance work uses the principle of re-interpreting the Four-Day General Attack of the City of Surakarta with elements of novelty in the form of works through seeing, feeling, and imagining, and manifesting them into form. Determination is the title of a dance work resulting from exploration, improvisation, and evaluation of ideas into a complete form to accommodate messages or contents about struggle or spirit.

Improvised active music therapy for clients with Parkinson’s disease: A feasibility study

The purpose of this study was to test the feasibility of delivering Improvised Active Music Therapy sessions in measuring the impact of acquisition of rhythmic complexity levels on gait performance in individuals with Parkinson’s disease. In this single subject multiple baseline design, the study measured the ability of three right-handed participants with Parkinson’s disease to acquire greater density of syncopation, as a measure of rhythmic complexity levels, while playing uninterrupted improvised music on a simplified electronic drum-set. The music content of the sessions was transformed into digital music data in real-time using Musical Instrument Digital Interface. The Musical Instrument Digital Interface data were analyzed to determine the participants’ and the Music Therapist’s density of syncopation (on acoustic guitar) during baseline and treatment conditions. Results from visual analyses and Pearson’s correlations on the outcomes indicated conflicting and inconclusive outcomes about whether higher acquisition of rhythmic complexity levels improves gait performance in individuals with Parkinson’s disease. Despite this, evidence was found to support the overall value of Improvised Active Music Therapy sessions on gait performance. The study design, the intervention, and outcome measures were found to be feasible and could be scaled-up into a larger trial.

A natureza do feedback no ensino e na aprendizagem de piano com o uso de tecnologia digital no ensino superior

O objetivo da presente pesquisa foi investigar a natureza do feedback quando um sistema de tecnologia digital foi aplicado em aulas de piano com três duplas de professores e alunos no ensino superior no Brasil. Os dados foram coletados por meio de observações de aulas registradas em vídeo, entrevistas com os participantes e também dados relacionados ao uso de uma tecnologia específica. Uma análise temática dos dados resultantes sugere que os participantes usaram feedback verbal e feedback não verbal em três áreas de foco da aula: música (partitura), performance (por exemplo, dinâmica, articulação) e tecnologia (parâmetros de Musical Instrument Digital Interface [MIDI]). A aplicação da tecnologia permitiu que o foco da aula ficasse mais claro, tornando os alunos mais conscientes de suas performances e de seus processos de aprendizagem. Os dados sugerem que o engajamento com a tecnologia variou nos três casos observados. O uso do feedback mediado pela tecnologia parece ter benefícios; isso pode, por sua vez, otimizar as abordagens pedagógicas mais tradicionais no ensino e aprendizagem de piano no ensino superior e também enriquecer o estudo individual.

GANDRA PITALOKA: VISUALISASI KISAH CINTA DYAH PITALOKA DALAM KARYA TARI

Gandra Pitaloka merupakan visualisasi kisah cinta Dyah Pitaloka putri dari Kadipaten Pakuan dengan Prabu Hayam Wuruk raja dari Kerajaan Majapahit dalam kronologi peristiwa perang Bubat dalam karya tari. Gandra berarti wujud dan Pitaloka diambil dari nama tokoh sumber cerita yaitu Citra Resmi Dyah Pitaloka. Judul ini mengandung arti wujud Dyah Pitaloka. Karya tari ini terinspirasi secara auditif dari syair lagu Karembong Koneng yang menceritakan tentang peristiwa Perang Bubat antara kerajaan Majapahit dan Kadipaten Pakuan. Karya ini diwujudkan dalam bentuk koreografi kelompok dengan sembilan orang penari. Tipe penyajian yang digunakan yaitu tipe dramatik, serta disajikan dengan elemen pertunjukan wayang golek sebagai pengantar cerita. Gerak-gerak dasar tari Sunda seperti tumpang tali, lontang, dan capang, serta unsur dasar gerak silat di antaranya bandul, nangkis, dan nyabet digunakan sebagai pijakan dasar dalam proses pencarian gerak. Musik pengiring dalam bentuk instrumen musik elektrik atau MIDI (Musical Instrument Digital Interface) dengan menggunakan laras Salendro, Pelog, dan Madenda. ABSTRACT Gandra Pitaloka dance is a visualization of the love story of Dyah Pitaloka daughter of Kadipaten Pakuan with Hayam Wuruk king of Majapahit Kingdom in the chronology of Bubat war events. Gandra which means form and Pitaloka was taken from the name of the story source of the official image Citra Resmi Dyah Pitaloka. This title contains the meaning of Dyah Pitaloka's form. This dance work is inspired by audio from Karembong Koneng song lyrics. This poem tells about the events of the war Bubat between the kingdom of Majapahit and Kadipaten Pakuan. This work is manifested in the form of group choreography with the composition of nine dancers. The presentation type used is the dramatic type. Basic movements of Sundanese dance such as tumpang tali, lontang, and capang, and elementary motion of silat which is bandul, nangkis, and nyabet used as a foundation in the process of searching motion. This work is accompanied by music in the form of an electric musical instrument or MIDI (Musical Instrument Digital Interface) by using barrel Salendro, Pelog, and Madenda. And presented with elements of wayang golek show as an introduction to the story. The purpose of this choreography creation is to visualize the love story of Dyah Pitaloka with Hayam Wuruk through the development of basic movements of Sunda dance. The benefits of the creation of this work are to provide a creative process creation experience with the development of motion that departs from the basic movements of the dance of Sundanese and silat, as a form of appreciation of the character of a princess from Kadipaten Pakuan existing in West Java.

Interviewing the musical sample

Digital technologies and Musical Instrument Digital Interface-sampled instruments have emerged as one of the most significant technological shifts in musical consciousness in western society. Digital music has introduced new epistemologies of music as it raises questions of authorship and creativity, while also challenging the ontological presumptions about what it means to be a musician. Through interviewing the sample by applying various posthuman heuristics, I explore my own relationship to digital music samples and sampling technology as a composer and musician. I engage in a phenomenological inquiry that surveys the various ways the sample affects my ecological milieu of music-making, and more broadly, I explore how a musician is at all times enacting an intra/actional relationship as negotiated between themselves and their instrument.

PERSONAL COMPUTER AS A MUSIC TOOL WITH PARALEL PORT AS INPUT

Musical Instrument Digital Interface is a universally accepted standard for exchanging information about digital music playing. Computers with Windows 98SE support MIDI commands via Windows API (Application Programming InterfaceI). The computer has a parallel port. Because of that situation, the Windows 98SE operating system computer can be used with musical instruments with parallel ports as input. To be able to do this the method used using Delphi software as a link between parallel ports and Windows API. From the test results, the soundcard is able to produce a monophonic tone of the piano with keystrokes on the input (parallel port).Musical Instrument Digital Interface merupakan standar yang diterima secara universal untuk pertukaran informasi tentang permainan musik secara digital Komputer dengan Windows 98SE mendukung perintah-perintah MIDI lewat Windows API (Application Programming InterfaceI). Komputer memiliki port paralel. Karena situasi itu, komputer sistem operasi Windows 98SE dapat digunakan alat musik dengan port paralel sebagai input. Untuk dapat melakukan hal tersebut metode yang dipakai menggunakan software Delphi sebagai penghubung antara port paralel dengan Windows API. Dari hasil pengujian, soundcard mampu menghasilkan nada monophonic piano dengan penekanan tombol pada input (port paralel).

Pengaruh Intensitas Cahaya Terhadap Volume Suara Angklung Digital Teknologi Laser

Sistem musik digital telah dirancang dan diterapkan untuk menciptakan cara baru bermain musik . Sistem ini menggantikan sistem bermain musik secara tradisional (Analog) kecara bermain musik secara modern (digital) yang lebih mudah. Sistem ini terdiri dari laser pointer motor stepper, sensor cahaya, sensor jarak sebagai perangkat keras (hardware) dasar perangkat ini. Mikrokontroller Arduino Uno digunakan sebagai antarmuka (komunikasi) antara perangkat keras keperangkat lunak. MIDI (Musical Instrument Digital Interface) digunakan untuk membangun komunikasi antara perangkat keras dan perangkat lunak.