Akademi Lalare Orchestra Sebagai Pengembang Kreativitas Musik Pada Anak Di Kabupaten Banyuwangi

Creativity is a talent possessed by every individual and can be honed or nurtured through the right educational institutions. In a creativity formation, children need help to build their creativity. Supporting factors and the formation of creativity in children, namely with the full support of the people or the environment around them. The Lalare Orchestra Academy is an educational institution that teaches children to be more creative in playing musical instruments. This research uses descriptive qualitative method with data collection using observation and interview techniques, while the analysis technique uses the stages of reduction, presentation, and drawing conclusions. The research objective was to describe the background of the Lalare Academy Institute for orchestra and the process of developing musical creativity in children. The results showed that the background for the establishment of the Lalare Orchestra Academy was driven by the interest of the chairman of the Blambangan Arts Council, namely Syamsudin and Kadafi Kadiso as art enthusiasts to provide space and opportunities for academic music education to children. In its performances, the Lalare Orchestra Academy always presents Banyuwangi traditional music games with a number of musical instruments that are not only one device, but use many traditional musical instruments so that they are called orchestra music games. In its development, the Lalare Orchestra Academy is in great demand by children because children are given the opportunity to develop game techniques, thus motivating children to be creative. The process of developing creativity is carried out by teaching Banyuwangi traditional music playing techniques, improvisation, and its application when playing music in an orchestra. Thus children will be able to improvise existing songs and be able to play music well.Keywords: Lalare Orchestra Academy, Creativity

Rule-based Interactive Learning Application Model on How to Play Music Instruments

This research aims to develop an interactive application to support people learning to play music instruments of orchestra music. Gamelan, a traditional music orchestra from Java, Indonesia was used as the object study. A model of gamelan orchestra learning application was proposed to support an easy way to learn how to play gamelan music instruments. Rule-based method was used to develop an interactive system to learn gamelan music instru-ments. The system was implemented into an application which supports us-ers in independently learning to play orchestra music instruments, especially in remembering notes sequences and playing the note according to the tem-po. An experiment involving two groups consisted of control and treatment groups were conducted to evaluate the proposed learning model. The results shows that the averages skill value of the members of the treatment group were higher than the members of the control group.

Art in the Process of Integrating the Don Host to the Russian State

Introduction. Studying culture and art in the formation of the Cossacks, designing its estate status is carried out in the perspective of current ideas about cultural policy contributing to more complete systemic reconstruction of the process. The novelty consists in showing the interaction of artistic and traditional household culture, the transformation of the latter. The purpose and objectives were analyzing the role of art in integrating the Cossacks into the Russian state, identifying the direction of changes in the culture; historical periodization of perception and adaptation of new art forms; establishing the specificity of the selected periods and the results achieved. Methods and materials. Research methods include the historical one, which allows considering changes in culture based on facts of social history, and cultural one, which gives approaches to studying regulation of the integration process in accordance with the principles of cultural policy. The source base consists of published official documents (letters, laws, decrees) containing reliable information, and art criticism, historical and ethnographic literature, which describes specific phenomena of culture and art. Analysis. The supreme power used effective and relevant for a particular historical period institutions and resources: religion and church (17th c.); service in the army and military education system (18th c.); reforming of social organization (incorporation into the estate structure of the state) and the control system of the Army (separation of the military and civilian system of administration) (19th c.). Results. By creating infrastructure, developing church and secular education, the government promoted systemic renewal of culture and Cossacks’ digestion of its forms that were perceived in Russia and Europe as close, identical and related (architecture, painting, choral singing and orchestra music, drama and musical theater). At the early stage of integration into the Russian state, contact forms and democratic nature of the cultural interaction process prevailed. Cultural expansion of the 18th – 19th centuries had a systemic nature and was determined by purposeful influence of the institutions (church, army, school and social elite) that contributed to renewal of culture according to the Western European model.

Mitterer, Wolfgang (1958--)

Wolfgang Mitterer (1958--) is an Austrian composer and organist noted for his work with live electronics and improvisation. Born on 6 June, 1958 in Lienz, East Tyrol, Mitterer studied organ and composition at the University of Music and the Performing Arts Vienna, followed by a year-long residency at the studio for electroacoustic music (EMS) in Stockholm. An exceptionally prolific composer, Mitterer’s output spans a staggeringly broad range of approaches to music making, including works for tape, chamber music of various formations, experimental pop songs (Sopop), works for large orchestra, music for theatre and opera, music for film, and sprawling site-specific installations and performance events (turmbau zu babel, for example, is scored for 4,200 singers, 22 drums, 48 brass players, and 8-channel tape). His works list includes over 200 entries and demonstrates a particularly catholic, pluralistic, non-dogmatic approach to instrumentation, duration, venue, scale, and function. Despite this diversity, Mitterer’s work maintains several important central tendencies: stylistically, the music is often characterized by layers of crackles, twitches, clicks, and pops (both electronic and acoustic), with a rustling, flickering, chirping, gestural energy. These more fragmented, granular layers are quite often combined with gradual, elongated, atmospheric, and lyrical material, though generally a sense of instability and unpredictability remains.

ORKES SIMFONI DALAM PERSPEKTIF HABITUS BOURDIEU

Symphony orchestra in Indonesia according to the perspective of “habitus Bourdieu” has managed tocreate a middle-class symphony orchestra music. Habitus is in the process of producing and reproducingthe group, and when the group was awakened, finally realizing that he is a group. The existence ofa symphony orchestra in Indonesia was pioneered by Radio Orchestra and Orchestra Studio in RRIJakarta in 1950. In 1966 on the initiative of Ali Sadikin, both the orchestra and being joins with nameOrkes Simfoni Jakarta (OSJ). OSJ as outset of symphony orchestra in Indonesia, further influencingthe emergence of various symphony orchestras such as: University of Indonesia Symphony Orchestra(1983), Twilite Orchestra (1991), Surabaya Symphony Orchestra (1996), Nusantara Symphony Orchestra(2000), Gita Bahana Nusantara (2003 ), and others.

Sa’Unine String Orchestra, Orkes Geseknya Indonesia

ABSTRACT This article explains the result of Sa’Unine String Orchestra as one of Indonesian orchestras in popular culture. Main idea of this research is to uncover and describe the characteristic, func- tion, and role of Sa’Unine String Orchestra within the popular culture in Indonesia. This research used qualitative method with ethnographical approaches to identify all facts that discovered during research. The conclusions of this research show that Sa’Unine String Orchestra moves in two ways, there are; the idealism which had a vision to create a real Indonesian string orchestra and a part of music industry. At the end, these two ways are connected to each other because of the earnings of those. Music industry becomes a support factor which create the idealism of Sa’Unine String Or- chestra to be an Indonesian String Orchestra. Keywords: String Orchestra, Music, Popular Culture.Â