A STUDY ON MORAL ANXIETY OF SCHOOL TEACHERS

NOTHING IN HUMAN AFFAIRS IS WORTHY OF GREAT ANXIETY. – PLATO Man is a moral being. Life is so meaningful and beautiful. The purpose of life is to be happy. Moral character is fundamental to get happiness in the social life. Morality is that which gives clarity on right and wrong. Man must develop an acceptable moral and ethical behavior. No police men can watch your moral behavior but your inner consciousness will watch all the time. A kind of anxious state towards moral and ethical behavior of one self is helpful to make man with sound character. Plato says, “nothing in human affairs is worthy of great anxiety”. It is important to understand the level of moral anxiety in relation to sound moral values. Present paper is focusing on level of moral anxiety of school teachers. This study clarifies about how far the school teachers are having introspective and curious state towards acceptance of Moral Values.

Psychoacoustic evaluation of soundscapes by means of repeated measurements

Research on soundscape explore facets of how acoustic environments affect human perception in context. By means of psychoacoustic parameters the sound character of acoustic environments can be described comprehensively as those parameters play an important role with respect to manifold auditory sensations. Although there seems to be a consensus of the benefit of psychoacoustics for soundscape evaluations and the ISO/TS 12913-2 particularly requests to give consideration to psychoacoustic indicators in soundscape investigations rather little is known about the relationships between psychoacoustic quantities and significant soundscape dimensions. Numerous investigations aimed to establish links between psychoacoustics and soundscape appraisal, but the gained results were often not suited for generalization. Moreover, it is rather unclear how urban locations vary in their sound character over longer periods and how the level of variation drives soundscape assessments. In order to establish an understanding of potential psychoacoustic characterization of urban locations for soundscape evaluations, repeated measurements of different locations are analyzed and the general behavior of psychoacoustic quantities derived. Based on these investigations it is intended to expand knowledge on the usefulness of psychoacoustics from the perspective of the soundscape approach.

Avatar/Player Subjectivity

Many music scholars have theorized about musical agency, drawing perspectives from fields including cognition, semiotics, and musical meaning. Few, however, have explored musical agency in relation to ludic agency, a gap I hope to fill here. Through this article I will explore how the multimodal nature of Crypt of the NecroDancer influences the player's experience. I will first outline several theories of agency. Then I will analyze of Crypt of the NecroDancer and its various virtual and actual agencies, including narrative, music and sound, character, and virtual environment. I will use these analyses within the framework of theories of agency in order to support the hypothesis that the player identifies with a character in the game and constructs a relationship in which they virtually coexperience the game with the avatar. This relationship is a bipartite, distributed agent that I call the “avatar/player.”

Material and Medium: An examination of sound recycling in Oval’s 94 diskont

Reproduction (playback) is responsible for the presentation of the full spectrum of sound character captured during the recording process. The control of this and the faithfulness to an original sound has informed modern sound aesthetics. Current modes of reproduction, such as streaming, see the listener more interested in an approximate presentation of sound, rather than a broad and more psychoacoustically pleasing one. In the sonic arts, the practice of sound recycling and its associated methodologies, reproduction is re-contextualised, involving material that is borrowed, reworked and often disconnected from its source. Such issues are considered in this article through the examination of sound recycling in 94 diskont (1995), an album produced by the German act Oval. By studying the use of material and medium in the work, an attempt is made to discuss approaches to sound recycling through conceptual frameworks proposed by Bregman, Deleuze, Guattari and Smalley to provide a forum towards the interpretation of sound recycling in wider sonic arts practices.

Nglebur Laras

The concept of nglebur laras this time is interpreted as the concept of melting the barrel in all situations and conditions in the Karawitan art activity area. The concept can be interpreted as a draw concept, it will not draw if you forget the barrel between them (between the barrel of the pelog and between the barrel of the slendro). Everything always passes between them. Between the barrel of the pelog and the barrel of slendro, half pelog and half slendro it is the behavior of the barrel event which cannot be guessed its existence in the strains of Karawitan's gendhing. Whatever form of sound character is displayed by the barrel of pelog, slendro, and between the two, the fact is that the phenomenon of mixed barrel beating is still called the class of the barrel (of course), and on the concept of karawitan (in particular). The spread of this mixed barrel work is indeed very rapid, especially in the Java area. Pengrawit social society that often makes works by processing mixed tunings is now very spoiled, the habit of looking for the attention of the general public, making the general public become excited by the existence of mixed barrel work, considered uniqueness that is not boring. On the contrary, if the general public understands the condition and essence of the barrel work in general, it will be a suspicion that might be considered damaging the standard and so on.The actualization sought was to create an archipelago music art work with a gender instrument by mixing the duality of the barrel, namely pelog and slendro in one instrument. This Nglebur Laras has multiple interpretations. Nglebur is a term used by gamelan makers / craftsmen, which means the activity of mixing raw materials (iron, tin, copper) into liquid. Nglebur can be interpreted as melting mix or which can also be called mbesot. Nglebur is the main ingredient in making gamelan because iron, tin and copper which are still hard must be cooked first to the point of melting. Then the barrel is the essence that plays an important role in the world of Karawitan. Laras has two special concepts called pelog and slendro. These two different concepts certainly have different characters. Laras is one of the important pieces of furniture. Laras consists of two groups, namely, pelog barrel and slendro barrel. Both types of barrel are one of the two main elements that characterize music. Laras in the world of karawitan has three plural meanings, namely, first; something that is (comfortable) or delicious to be heard or lived, second; namely the sound that has been determined the number of frequencies (penunggul, gulu, dhadha, pelog, lima, nem and item). The third meaning is the scale or scale, which is the arrangement of the notes in the number of sequences and the interval patterns of the tones have been determined. The taste is related to tastes like the expression Rahayu Supanggah in his book Bothekan Karawitan I that 'the barrel is very close to taste, taste can be formed by culture, including local traditions and habits'. The two words that are deliberately combined through all the 'combinations' that the author means are infallibility or an interesting possibility of all possibilities that might occur. It can also be understood that the title of the Nglebur Laras is a synergy or a fusion of all the anxieties in human social culture and social culture of Javanese music (especially the Javanese Gamelan).Keywords: Nglebur, barrel, and unity.

Proses Komposisi Theme Song “A True Friend ” Berdasarkan Komik H2O: Reborn An Epic Trilogy Phase 0.2 Chapter 11 Karya Sweta Kartika

H2O:Reborn, adalah komik indonesia karya Sweta Kartika yang menceritakan epos Ramayana dalam versi modern dengan bentuk trilogy. H2O:Reborn terbagi menjadi tiga phase dimana pada setiap fase dilengkapi dengan theme song. Dengan adanya theme song, H2O:Reborn menjadi suatu inovasi komik yang memiliki branding dan daya tarik tersendiri dibanding komik pada umumnya. Kemudian inovasi yang di gagas oleh Sweta Kartika ini diwujudkan dengan membuat komposisi musik dan theme song berdasarkan setiap phase dalam komik H2O:Reborn. Pada penelitian ini akan dibahas theme song yang terdapat pada fase 0.2 yang berfokus di chapter 11. Fokus penelitian ini akan mengupas karakter bunyi yang dijalin dalam komposisi A True Friend yang dapat mewakili karakter tokoh Sita dan Ravana. Pembuatan komposisi musik A True Friend melewati proses diskusi dengan Sweta Kartika serta pembuatan sampel musik yang direvisi sesuai dengan storyboard yang dikehendaki komikus. Ilustrasi musik A True Friend dibuat dengan perpaduan instrumen piano, strings, choir, harp dan vocal. Penyusunannya menggunakan gaya musik popular dengan inspirasi berdasarkan teknik komposisi musik Beethoven dan teknik contrapuntal texture dalam proses pembuatan orkestrasi. Kombinasi bunyi dengan alur musik yang sendu menjadi karakter utama theme song yang bertujuan membangkitkan emosi dan sensasi pembaca saat membaca komik H2O: Reborn sembari memutar theme song A True Friend. H2O: Reborn, is an Indonesian comic by Sweta Kartika which tells the Ramayana epics in a modern version with the form of a trilogy. H2O: Reborn is divided into three phases where each phase is equipped with the theme song. With the theme song, H2O: Reborn is an innovative comic that has its own branding and appeal compared to comics in general. Then the innovation proposed by Sweta Kartika was realized by making music compositions and theme songs based on each phase in the comic H2O: Reborn. In this study, the theme song will be discussed in phase 0.2 which focuses on chapter 11. The focus of this study will be to explore the sound character woven in the composition of A True Friend which can represent the characters of Sita and Ravana. The making of musical compositions A True Friend went through the process of discussion with Sweta Kartika and the making of revised music samples in accordance with the storyboard that the comic artists wanted. Music illustration A True Friend is made with a mix of piano instruments, strings, choirs, harps and vocal. The compilers used the style of popular music with inspiration based on Beethoven's musical composition techniques and contrapuntal texture techniques in the process of making orchestration. The combination of sound with a sad flow of music is the main theme song character that aims to arouse the emotions and sensations of readers when reading comics H2O: Reborn while playing the theme song A True Friend..Keywords: Theme song; H2O: Reborn comic; Sweta Kartika; A True Friend

UNDERSTANDING THE SOUND CHARACTER OF THE TOOL WITH A VIDEO SLIDE SKETCH ON THE ENSEMBLE LEARNING AT SMPN14 PADANG

This research aims to develop the subject matter of Art of Culture according to the curriculum of 2013, especially from the enriching aspect of instructional material of musical ensemble. The method used in this research is R & D method. The result of the research has created the development of teaching materials of local musical ensemble on Minangkabau music material, which by displaying the character of the ensemble instrument sound in the form of sketch-based video, the teacher can complete the teaching material in the show and not need to be demonstrated. With the enrichment of musical ensemble lesson material using this sketch-based slide video also, the teacher can present the lesson with more appreciative and attract the attention of the student, that is by the use of materials, tools, materials and study time effectively and efficiently.Keywords: sound character, music tool,video slide sketch, ensemble MEMAHAMI KARAKTER BUNYI ALAT DENGAN VIDEO SLIDE SKETSA PADA PEMBELAJARAN ENSAMBEL DI SMPN14 PADANGPenelitian ini bertujuan untuk mengembangkan materi pelajaran Seni Budaya sesuai kurikulum 2013, khususnya dari aspek memperkaya substansi bahan ajar ensambel musik. Metode yang digunakan dalam penelitian ini adalah metode R&D. Hasil penelitian telah menciptakan pengembangan bahan ajar ensambel musik daerah setempat pada materi musik Minangkabau, yang mana dengan menampilkan karakter bunyi alat musik ensambel dalam bentuk video berbasis sketsa, guru dapat melengkapi bahan ajarnya dalam tayangan dan tidak perlu didonstrasikan. Dengan adanya pengayaan materi pelajaran ensambel musik menggunakan video berbasis slide sketsa ini pula, guru dapat mempresentasikan pembelajaran dengan lebih apresiatif dan menarik perhatian siswa, yakni dengan penggunaan materi, alat, bahan dan waktu belajar yang efektif dan efisien.Kata kunci: karakter bunyi, alat, video slide sketsa, ensamble