Indonesia: Arts, Religion, and Social Change

“SIT in Bali was an amazing program. I had an extraordinary experience I could not have had anywhere else in the world.” -- Fall 2009 student Explore the evolving relationships among religion, fine arts, performing arts, and social organization in contemporary Indonesia. Batuan festival Batuan festival View Complete Photo Gallery Check out more photos, including of the program center, excursion sites, and homestay locations, on the SIT Bali Facebook page. This program takes students on a tour through the history of Indonesia as seen through the lens of the major religions, societies, and art forms of Java and Bali. By learning with respected masters in their field, students discover how religion, society, and the arts have developed side-by-side on each island. Coursework explores the ancient roots of Javanese and Balinese culture and the history of the republican movement that led to the formation of modern Indonesia. Students also analyze current debates on the future of Balinese culture and society in relation to global pressures such as increased development and international tourism. The program’s Field Study Seminar provides instruction on conducting field work in new cultural and physical terrains. Learn more about the program’s coursework and review program syllabi. Visit historic and cultural sites, religious rituals, performances, and local ceremonies. Throughout the semester, students participate in activities aimed at highlighting the important roles played by majority and minority religions and the arts in shaping cultural and social discourses. Students may also have the opportunity to pursue practicum lessons of local art forms such as Balinese dance and music. Learn from Indonesian and international academics, local writers, artists, and community members. Lecturers are drawn from the Faculty of Philosophy of Universitas Gadjah Mada in Central Java, the Faculty of Letters of Udayana University in Bali, and other well-regarded institutions. Instruction in Bahasa Indonesia—among the most accessible of all Asian languages—and homestays with local families help students integrate into the daily life and society of Java and Bali. Students also have excursions with Indonesian students from local universities. Learn how one recent program participant combined modern and Balinese traditional dance to create an original choreographed piece performed by Balinese dancers, as reported in The Jakarta Post. Browse this program's Independent Study Projects/Undergraduate Research Contact Us SIT, 1 Kipling Road, PO Box 676, Brattleboro, VT 05302-0676 802.257.7751, 800.257.7751 (Toll-free in the US) SIT was founded as the School for International Training and is now known as SIT Study Abroad and SIT Graduate Institute. SIT is accredited by the New England Association of Schools and Colleges, Inc. (NEASC) through its Commission on Institutions of Higher Education Source : http://www.sit.edu/studyabroad/ssa_abr.cfm Copyright 2011. World Learning. All rights reserved Home

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15 Years Cemeti Art House - Exploring Vacuum Author : National and International art critics, Indonesian curators, art dealers, artists, writers and several national collectors, including Hendro Wiyanto, Rizki A. Zaelani, Hou Hanru, Goenawan Mohamad, Oei Hong Djien, Asmudjo Jono Irianto, Gridthiya Jeab Gaweewong, Eko Nugroho, Christine Clark and Masahiro Ushiroshoji, with 30 other contributors Publisher : Cemeti Art House, 2003; bilingual (English/Indonesian) Size of book : 22 x 31 cm, 248 pages, full-color Price: IDR 90,000 [for public] | IDR 65,000 [for students] This book illustrates the efforts of Cemeti Art House in their search for a pattern of gallery management for contemporary Indonesian visual arts that is contextual as well as international, since its founding in 1988, when alternative art Works and artists were marginalized during the height of the Soeharto regime. In 1995, Cemeti Gallery became an inspiration and stimulus for the establishment of another institution, Cemeti Art Foundation, which focused on the development of a discourse for research, training and art appreciation programs. Cemeti Gallery, with its gallery space designed exclusively by the architect Eko Prawoto, changed its name to Cemeti Art House in 1999, and has continued until the present time, to actively design curatorial works in their exhibitions. This book includes a catalog of the project presentations and art exhibitions over three generations: Exploring Vacuum. more www.MACHO - Nindityo Adipurnomo Author : Alia Swastika with her essay 'Twisting Hairpieces become Javanese' Farah Wardani with her essay 'Reviewing the Portrait of that Javanese Man: A Study in Intersubjectivity' Iola Lenzi with her essay 'Prismatic Vision: Geneaology of the Javanese Hair Bun that Continues to Evolve in Nindityo Adipurnomo’s Art' Amanda Katherine Rath with her essay 'Reading a Conversation of Elements through an Antagonistic Relationship' Size of book : 17,5 x 24 cm, 96 pages with 56 pages full color Publisher : Cemeti Art House, 2007, bilingual (English/Indonesian) Price: IDR 50,000 This book was not meant to be a catalog of any exhibition of Nindityo Adipurnomo’s works during a specified period of production. It is, rather, an illustration of the evolution of Nindityo’s art ideas over the period of time in which he worked on the Genealogy of Javanese Hairpieces. Presented are analytical essays by four writers, all of them women. The art pieces shown were selected by Nindityo himself to illustrate the attention of the writers who discuss his works from various perspectives, both analytically and critically. more Outlet [in Indonesian] Publisher's Foreword by Raihul Fadjri Foreword by Jim Supangkat Author: Sumartono, 'The Role of Power in Contemporary Yogyakartan Art' Asmudjo Jono Irianto, 'Tradition and the Socio-Political Context in Contemporary yogyakartan Art of the 1990s' Rizki A. Zaelani, 'Yogyakartan Art of the 1990s: A Case Study in the Development of Indonesian Contemporary Art' M. Dwi Marianto, 'Yogyakartan Art: Trends Prior to the Third Millenium' Published by: Cemeti Art Foundation, 2001, in Indonesian Size: 22,7 cm x 17,4 cm, 201 pages. Hardcover Price: IDR 75,000 Limited stock The four researchers contributing to this book agree that to understand contemporary art is in essence a contradiction of modern art. All four recognise that discussion of contemporary art cannot begin simply by interpreting 'current art' or 'art in particular period or time'. more Outlet [in English] Publisher's Foreword by Raihul Fadjri Foreword by Jim Supangkat Author: Sumartono, 'The Role of Power in Contemporary Yogyakartan Art' Asmudjo Jono Irianto, 'Tradition and the Socio-Political Context in Contemporary Yogyakartan Art of the 1990s' Rizki A. Zaelani, 'Yogyakartan Art of the 1990s: A Case Study in the Development of Indonesian Contemporary Art' M. Dwi Marianto, 'Yogyakartan Art: Trends Prior to the Third Millenium' Published by: Cemeti Art Foundation, 2001, in Indonesian Size: 22,7 cm x 17,4 cm, 201 pages. Hardcover Price: IDR 65,000 Limited stock The four researchers contributing to this book agree that to understand contemporary art is in essence a contradiction of modern art. All four recognise that discussion of contemporary art cannot begin simply by interpreting 'current art' or 'art in particular period or time'. more Menanam Padi Di Langit [Planting Rice on the Sky] Writer : Puthut EA | Foto : Davy Linggar Size : 18,5 x 28 cm, 313 pages, in Indonesian Price: IDR 200,000 more Aspek-aspek Seni Visual Indonesia: Politik dan Gender Writers: Sumartono, M. Agus Burhan, Moelyono, FX. Harsono, Dolorosa Sinaga, Toeti Heraty Noerhadi, Enin Supriyanto, Arahmaiani, Arie Dyanto Publisher: Cemeti Art Foundation, 2003, monolingual (Indonesian) Size: 24 cm x 17,5 cm, 160 pages Price: IDR 30,000 more The Fitting Room - Mella Jaarsma Writers: Agung Hujatnikajennong | 'Fitting Room' Adeline Ooi | 'Conversation With Mella Jaarsma' & ''Taking Cover' Meta Knol | 'Existentialism of Mella Jaarsma' Eko Prawoto | 'Reading the Artist' Size: 22,5 cm x 15,5 cm, 200 pages full-color Publisher: Selasar Sunaryo Art Space, Cemeti Art House, Mella Jaarsma & authors, 2009; bilingual(English/Indonesian) Price: IDR 50,000 NEW RELEASE! This book is published for the occasion of the exhibition 'The Fitting Room' by Mella Jaarsma at the National Gallery, Jakarta from 27 October-8 November 2009 and at Selasar Sunaryo Art Space, Bandung from 14 November-6 December 2009 more Fixing the Bridge: An International Workshop on Artists Initiatives Papers: 'Indonesian Ceremony' by Primanto Nugroho 'Drifting Producers' by Jeon Yongseok 'Organising' by Mahatmanto Publisher: Cemeti Art Foundation, 2004, bilingual [Indonesian & English] Size: 21 cm x 15 cm, 187 pages Price: IDR 25,000 more The Sound of Silence and Colors of the Wind Between the Tip of a Cigarette and Fire of the Lighter [17 Years of Ugo Untoro's Fine Arts, 1986-2006] Writer: Omi Intan Naomi Publisher: Museum Dan Tanah Liat, 2008; bilingual (English/Indonesian) Size: 24 cm x 16,5 cm, 483 pages Price: IDR 250,000 more Folders: 10 Years of Documentation Work by Cemeti Art Foundation Authors: Nuraini Juliastuti, Yuli andari Merdikaningtyas Publisher: Indonesian Visual Art Archive (IVAA), 2007, bilingual (English/Indonesian) Size: 24 cm x 17,5 cm, 160 pages Price: IDR 125,000 more Source: http://www.cemetiarthouse.com/index.php?page=merch&id=42&lang=en

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NASYID HIBURAN ISLAMI -NASYID HIBURAN ISLAMI- Telah hadir di kota Surabaya Team Nasyid Fatwa Voice menyajikan Hiburan islami Cocok untuk acara Walimah, Sunatan,Syukuran, Halalbihalal, dan masih bayak lagi.Dan kita membawa Surabaya islamic music band | islamic music | grup musik nasyid | musik islami | Grup Band The Fragrant Band `````The Fragrant`````   About Fragrant The band Fragrant were originally formed in the middle of year 2004, and molded together by a band of brothers whom already got some handful experiences o music band indonesia Band Tunas Bangsa Simphony Tunas Bangsa Simphony We born in November 25th 2000, in a lovely small town called Purwokerto - Central Java, Indonesia. Our first members are; Indra, Arif, Orchid, Bayu and Reni. We play some indie- central java bands | pop music | band lokal | musik indie | indie pop “A stoon A” “A stoon A” Read in Indonesian accent “Ah stoon Ah”. 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Indonesian Arts

Batik Jambi Batik Jambi is not very famous due to the number of the artists are low, therefore the production is also low. Therefore, the distribution of batik Jambi is limited in some areas like Jambi, South Sumatera and West Sumatra. There is no clear evidence whether batik Jambi has been there before any contact with Java. Some believe that batik Jambi was developed by the king family during the Melayu-Jambi empire which later gradually collapsed. Whereas, according to P.W. Philipsen, around 1875 Haji Mahibats and his family arrived in Jambi from Central Java and developed batik in Jambi. In the past, Jambi used to have trade relation with Indramayu, Cirebon, Tuban, Lasem and Madura which gave influence to batik art in Jambi. Jambi also recognizes batik which the motif is similar to songket Palembang. The influence of Solo-Yogya can also be seen at batik with sawat or lar). Arab influence is also found in batik Jambi that can be seen in calligraphy and mid-east geometric decorative types. Chinese Influence can be seen at bird hong motif at the cloth boundary. Indian influence can be seen from the existence of patola decorative at cinde and bean (kemeh, sembagen). Batik Jambi adopts motifs from flora found in Indonesia like gardenia and keladi leaf. Fauna motifs have never been used in batik Jambi. The colors of the original batik Jambi are dark blue, black blue, carmine and yellowish. Yellowish tend to be the most specific color extracted from lembato tree. Jambi implements squish (ramas) technique so called remukan in Java. Long loose cloth of batik Jambi always implements boundary decoration at the two ends. Boundary are also implemented at scarf and sarong. The better quality of batik will have the wider periphery decorations. The size of the scarf is very wide since the scarf used to be worn to cover women’s heads and functioned as veil. The local people favor batik in long loose cloth rather than sarong. [Olin/Batik Image Source:Katalog Batik Indonesia, Departemen Perdagangan dan Perindustrian RI] Souerce : © 2011 e.artscraftindonesia.com

Enjoy Indonesia Cultural Performance

On 16 October 2008, The Embassy of the Republic of Indonesia in Bern along with CITRA Grup (Abbreviation of Cinta Nusantara, which means Love Indonesia) chaired by Mrs. Linda Agum Gumelar and Verein Indonesia-Switzerland (VIS), hosted Indonesian Cultural Performance titled “Enjoy Indonesia”, which took place at Hotel National in Bern. The same event was also held in Basle on 18 October 2008. Both events were organized in conjunction with the “Visit Indonesia Year 2008” program, launched by the Government of Indonesia early this year. Around 40 young artists from Indonesia participated in these events, which were dedicated to promote Indonesian Culture in foreign countries. Not less important, both events were also aimed at introducing the beauty and uniqueness of Indonesian traditional arts and culture to international society, particularly in Switzerland, as well as preserving the Indonesian arts and culture. Enjoy Indonesia Cultural Performance in Bern, started by a reception, which allowed guests to taste various typical food of Indonesia, was particularly dedicated to 300 important guests from diplomatic community, government officials, foreign ambassadors accredited to Switzerland, business community and entrepreneurs in Switzerland, Travel Agents, and Friends of Indonesia. The event, held from 19.00 to 21.30, was then followed by a slide show of Indonesia tourism, titled “Indonesia a country of thousand faces”. The Ambassador of the Republic of Indonesia to Switzerland, H.E. Mrs. Lucia H. Rustam opened the event by addressing speech, explaining the audience the natural beauty and uniqueness of Indonesia, both the landscapes and the culture. The Ambassador uttered her hope that with Enjoy Indonesia Cultural Performance, the audience could get a clearer perception on Indonesia, a country which is famous for its beautiful landscapes and culture so as its people’s friendliness, which in turn will encourage them to visit Indonesia and experience the beauty themselves. After the opening ceremony, various Indonesian traditional cultural performances, such as traditional dances, interactive Angklung performance, as well as demonstration of batik making were presented. The demonstration of batik making and batik exhibition were dedicated at showing the audience the beauty and high quality of Indonesian Batik compared to similar products from other nations. Indonesian Keroncong singer, Tuti Maryati, which also hosted the whole event, performed various traditional songs from all over Indonesia as well as one of Switzerland’s famous songs, Edelweiss. A number of Indonesian traditional dances, such as Ngarojeng dance from Betawi, Jaipong dance from Sunda, Giring – giring dance from Kalimantan, Saman dance from Aceh, followed by Batik fashion show have aroused the interest of the audience. Another highlight of the event was the interactive Angklung performance, an Indonesian traditional music instrument made from bamboo, which presented international pop, folk and rock songs, such as Bohemian Rapsody from Queen, Symphony No. 40 from Mozart, The Power of Love from Celine Dion, and so on. The Angklung performance was presented by 6 young students of Daeng Ujo, the Angklung conductor. Daeng Ujo was also inviting the audience to play Angklung by themselves. He distributed one Angklung to each audience and conducted the audience to play some international famous songs. At the end of the performance, Daeng Ujo declared that Angklung is Indonesian Original Music Instrument, which were greeted by standing applauses by around 300 invitees in the event. The audiences were very impressed with the Cultural Performance and look forward to be invited to the next Indonesian Cultural Performance. Source: Copyright 2009 Foreign Affairs Department Republic of Indonesia | Term and Condition

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Sample Performance Appraisals Sample performance appraisals are the criteria to evaluate and determine the capability and capacity of an individual. Performance appraisals are very important for both the employee and the employer and thus are meant to be unbiased. Let us get into the details of this process of employee performance evaluation. Performance appraisal is the term given to the performance evaluation process followed by organizations to determine the level of competence of an employee and his future expected contribution in the growth of the company. It also determines his own progress in the career front and what he must expect from his employer. It is a two way process and is equally important for both (i.e., for the employer and the employee). Performance appraisal dates back to the early 20th century, from the time of the Second World War. However, it has been practiced for a very long time and can be called the second oldest profession of the world. The Purpose of Sample Performance Appraisals Every employer spends a major chunk of his resources in the employee performance appraisal process. Hence, it is unnecessary to mention that this process must be followed with utmost care and all possible efforts must be made such that it does not negatively affect the goodwill of the company in the eyes of its people (the employees). Defining Standards: One of the important purposes of sample performance appraisal is to define and set standards. On completion of one complete year, the employer can draft clearer standards of expectations and expressions. Some companies follow the "rate yourself" criteria in which a self appraisal form is generated and each individual has to rate himself according to his own capabilities and performance. At the time of discussion, one has to justify his rating and prove that he truly deserves the points he has awarded himself. The appraiser, if satisfied, awards the employee with the points and hence the hike. Sample Performance Appraisals - Things to Remember Appraisals are not only about hike in salary or increase in designation (though they are the most important reasons), but one must realize the overall impact it has on the employee, the organization and also the others. It brings out the loopholes, helps plan training strategies, gives new ideas of improvement, helps in understanding the employer-employee relationship in terms of trust and dependability, brings the staff closer to the management by building a platform for discussion and obviously is very important for the development of the organization as a whole. Since performance appraisals are something all employees look forward to, I would like to mention here that the appraiser must be extra careful to use proper performance appraisal phrases to give feedback to the employees. It is also important to give relevant performance appraisal examples to explain each and every point. One must not forget that appraisal is a two way process and every person has the right to ask questions and clarify doubts regarding his performance and the employer's expectations. It will be more than once, when the two will not agree upon a given point. At times, the salary negotiation process also gets out of hand. In such a scenario, being senior and more responsible, it is the job of the appraiser to take command over the situation. The appraiser has the added responsibility of doing justice to the powers endowed upon him and must display true business intelligence when handling a critical situation. Building trust with the employees is something that all employers desire and is surely achievable through genuine and unbiased efforts and proper employee management techniques. The employee, on the other hand, must keep in mind that the sample performance appraisal process is very important for the growth and development of his career, and therefore, should maintain a positive attitude towards it. He must be ready to take feedback and must respect the efforts put in by the management. An employee, in no situation, must compare his appraisal with that of a colleague as different methods of evaluation are followed for different individuals and comparison in this case is baseless. And lastly, he must keep his expectations humble, getting more than expected always brings happiness and avoids any situation of disappointment. Thus, performance appraisals are a part and parcel of effective management and must be conducted in the true spirit. It must not bring dissatisfaction and rivalry along but spread the spirit of a positive competitive environment. Souerce : ©2000-2010, 2011 Buzzle.com® · All rights reserved. Providing Feedback: Feedback is meant to enhance and encourage positive work culture and attitude. It is an important toll for employee motivation. The purpose of feedback is to let an individual know, in a positive way, his strengths and shortcomings. This provides a structured format for discussion as well. Encourage Development: The result of effective performance appraisals is career development. Therefore, it is very important that the employer encourages the employee towards career development which in turn would benefit the company manifold. Points out Training Needs: Sample performance appraisals are not only meant to evaluate employees, but is also an excellent tool for the management to find out its own areas of improvement. This helps them to find out the areas in which training has been insufficient, and planning can be done accordingly. Administrative uses: Performance appraisals aid the management to take certain decisions related to: salary, promotion, retention/termination, recognition of performance, layoffs, identification of poor performers, etc. The Criteria of Sample Performance Appraisals The criteria or process followed by most employers is quite rigorous and mostly includes the following points. Read about performance appraisal strengths and weaknesses. Quality and Quantity: The most important and foremost criteria is analyzing the quality and the quantity of work. The accuracy and correctness of work, the ability to perform equally well during pressure and maintaining standards are very important. Other things like optimum allocation of time and resources and matching expected outcome regardless of volume is also considered. Knowledge: Having correct and appropriate knowledge in the field of work is very important and is given a lot of value during the appraisal. Application of such knowledge to bring about improvement and achievement of daily targets; understanding of job methods and other information related to procedures; and executing all the processes with minimum interference and supervision are the basic points taken into consideration. Though thorough knowledge is expected, it is also appreciated if the employee approaches the concerned senior for some advice and guidance. Communication: One cannot deny the fact that communication plays a very important part in everything you do. An employee must be an active listener, must be clear in understanding and presentation, must follow all the office/senior etiquette, must be calm and in control of himself and show proper respect to seniors and juniors. This point is considered during sample performance appraisals. Team Spirit: One of the foremost requirements of success, team spirit is considered a very valuable attribute. A spirited employee, who maintains positive working relationship with his colleagues and seniors, ranks high in the eyes of the employer. Qualities like helping co-workers and sharing work related information and knowledge, being open to feedback, taking instructions in an agreeable manner, being a part of group building activities and contributing to team work to achieve targets and objectives are highly appreciated. Self Starter: A team player needs to have an attitude of taking initiatives. A person who sets his own targets, apart from the target already set for him, is appreciated for his efforts. A person who comes up with new methods of work, new ideas to improve work culture, suggests solutions and has innovative concepts and ideas is considered an asset. Accepting challenges and taking initiative to help others is an added quality. Cooperation: A cooperative person, who treats his seniors and co-workers with respect, is considerate and at the same time is cautious in dealing with customers and supervisors is given credit for his efforts. Abiding by the company rules and regulations and cooperating in case of emergencies are also considered during sample performance appraisals. Decision-Making Ability: This is an important attribute. One must have the ability to take hold of the situation and not panic in case of emergencies, must be quick at planning and deciding further action and must be fast and an active observer. Dependability: Last but definitely not the least, dependability counts the most. Points like - time taken to complete an assignment, respecting the regulations pertaining to break and other time bindings, following other rules, keeping seniors informed about any development (personal or professional), attendance and punctuality, reliability, etc. are considered before awarding points for dependability. Know more about the performance appraisal methods. Performance Appraisal Blunders Though it is solely an unbiased process and most organizations take care to be purely impartial, there are certain points that sometimes are overlooked. Comparison of employees is undesirable: It would be needless to say that this is the most common mistake that an employer can (and does) make. Comparison in any form and making unnecessary sample performance appraisal comments always brings negative competition and jealousy. Any two performers (or non-performers) cannot be compared with each other even if they belong to the same department and follow the same work procedure. The performance of an individual must be judged individually considering the conditions and circumstances. Appraisal is not about blame: The management sometimes forget the fact that performance appraisals are all about awarding the employees for their hard work and giving feedback for improvement. It must never be about blaming. Though it is possible that an underperformer might not be given a raise according to his expectations, one cannot deny the fact that blaming will only discourage him further to try to work better. Rating is definitely not unbiased: It must be understood that the rating form, though the most simplest and straight-forward way of performance evaluation process, is not a completely unbiased or impartial tool. A 1 - 5 rating tool can in no way judge the accomplishment, dependability or flexibility of an individual. It is also true that if two different people rate the same person, results would vary. Therefore, ratings are subjective and must not be entirely depended upon. They are faster, but in no way accurate. Managers need to concentrate more: It is completely unbelievable to find someone judging your performance without even having an idea about what you do on a daily basis and what is usually the result of your work. It would be surprising to know that most of the managers are usually not in a position to judge an employee's performance as they hardly put in enough efforts the whole year round to notice and evaluate day-to-day work and their outcome. A last moment research would lead him to a dead end. A round the year observation is extremely important and many managers fail to understand this simple idea. Dropping the bomb on D-day is annoying: It is observed that some bosses love to save up. I do not mean that they save up on time or resources, but save up feedback for the D-day. He does not bother to give you feedback for making mistakes or messing up some project assigned, but saves it up for the last day. He uses this tool to justify and establish his biased appraisal procedure. This is a guaranteed way to encourage bad performance and in some cases, attrition. Wastage of time on irrelevant issues is pointless: End of the year appraisal is a process in which the management must not waste too much time. My point here is that the managers must make it a point to keep track of an employee all throughout the year. He must be given feedback and suggestions at the end of a specified time period. In this way, the employee would be able to analyze what is expected of him and would perform accordingly. This way it would be easier for the managers to evaluate the performance at the end of the year and provide genuine sample performance evaluation comments.

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The Javanese Orchestra Gamelan is the music created by integrating voices of gong, kenong and other Javanese music instruments. Soft music that reflects the life harmony of Javanese people will soon greet and calm the soul down once someone is listening to it. Gamelan, the Javanese Orchestra Gamelan is surely not a foreign music. It has been popular in most continents and has created new music integration, for example jazz-gamelan, has born institution as learning space and gamelan music expression and it has produced famous gamelan musicians. Gamelan music instrument can now be enjoyed in various parts of the world, but Yogyakarta is the right place to enjoy it since you can enjoy the original version of gamelan. Gamelan that grows in Yogyakarta is Javanese gamelan, one form of gamelan that is different from Balinese gamelan or Sundanese gamelan. Javanese gamelan has softer and slower tones; it is different from Balinese gamelan that is very dynamic and Sundanese gamelan that is melodious with domination of the voice of seruling or traditional bamboo flute. The difference is just natural since Java has its own view of life that is expressed in its gamelan music melody. The Javanese view of life that is expressed in its gamelan music is the harmony of physical and spiritual lives, harmony in talking as well as behaving in order not to create explosive expression and to realize people tolerance. The real form of harmony in Javanese gamelan music is the moderate play of rebab string, voice harmony of kenong, saron kendang and gambang and the voice of gong ate each closing of the melody. There is no definite history of gamelan existence. The development of gamelan music is predicted to begin from the existence of kentongan, rebab, tap on the mouth, rubs on string and thin bamboo until the introduction of metal music instruments. Further development after named by gamelan, this music was used to accompany leather puppet show and dances. Later it became independent music and it was completed with voices of female singers called sinden. A set of gamelan consists of several music instruments; some of them are drum called kendhang, rebab, and celempung, gambang, gong and bamboo flute or seruling. The main components composing the gamelan music instruments are bamboo, metal, and wood. Each of the instrument has its own function in a gamelan music show, for example the gong functioning to close the long music melodies and to give balance after the music was previously decorated by Javanese music melodies. Javanese gamelan is music with pentatonic melodies. A complete gamelan play consists of two cycles, namely slendro and pelog. Slendro has 5 melodies per octave, namely 1 2 3 5 6 [C- D E+ G A] with small interval difference. Pelog has 7 melodies per octave namely 1 2 3 4 5 6 7 [C+ D E- F# A B] with big interval difference. Gamelan music composition was created with some rules, namely consists of some cycles and pathet, confined by one gong and the melodies were created in a unit consisting of 4 melodies. You can see gamelan as an independent music performance or a companion of a dance or performance arts such as leather puppet show and ketoprak. As an independent performance, gamelan music is usually combined with the voice of the Javanese singers (male singers are called wiraswara and female singers are called waranggana or sinden). Gamelan music performance can be classic or contemporary. One form of contemporary gamelan is jazz-gamelan as a combination of music with pentatonic and diatonic melodies. One of the places in Yogyakarta where you can see gamelan performance is Yogyakarta Kingdom. On Thursdays from 10:00a.m. to 12:00p.m. gamelan is performed as an independent music performance. On Saturdays at the same hours, gamelan is performed as companion of leather puppet show, while on Sundays at the same hours, gamelan accompanies Javanese traditional dance. Please come to Bangsal Sri Manganti to see the performance. Meanwhile, in order to see older gamelan music instrument, you can go to other hall of the kingdom that is located a little further at the back. gamelan sound Text: Yunanto Wiji Utomo Photo & Artistic: Singgih Dwi Cahyanto Copyright © 2006 YogYES.COM

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Welcome to Indonetwork.net Join Now - Member Sign In - Help LUCKY ART Sep. 15, 2011 8:53:42 [Jakarta, Jakarta, Indonesia] Lucky Art is abrand market, related in art. We sell various of art products such as, painting, krystal, antique, furniture, handicraft, etc. Send Message MMCollections Sep. 12, 2011 20:37:41 [Cirebon, Jawa Barat, Indonesia] We provide various types of arts, especially painting and batik. Our flagship work of art of batik painting and art glass with a pattern of mega Cirebonan cloudy as a hallmark. Receiving orders are.... Y!: bdl.original Y!: bdl.original ORIGINAL.Adv ( Bengkel Lukis Digital) Sep. 8, 2011 7:38:31 [Surakarta, Jawa Tengah, Indonesia] Our business is engaged in graphics design and create paintings using digital techniques are capable of producing a perfect work with a very affordable price. The combination of painting with.... Send Message Istana Pigura Malang Sep. 5, 2011 6:09:33 [Malang, Jawa Timur, Indonesia] Whole saler Wood Frame : we produces a various measurement of Frame with a high quality Wood Rosin. we also serve shipping to other countries Y!: citra.frame Y!: citra.frame CITRA FRAME Sep. 1, 2011 12:42:16 [Jakarta Barat, Jakarta, Indonesia] Our company has been established since 2000 and has experience in providing various types of paintings such as landscape painting, animals, fruit, flowers including Muslim calligraphy as well as.... Y!: indahhariati Y!: indahhariati Charlene gift & craft Aug. 20, 2011 12:53:05 [SIDOARJO, Jawa Timur, Indonesia] I' m Amigurumi crocheter, and Knitter, my amigurumi are 100% handmade and made by my self, then every single Amigurumi are exclusive and individual. You may also visit my blog at http: / / .... Y!: saharaart19 Y!: saharaart19 SAHARA ART Aug. 19, 2011 15:58:46 [situbondo, Jawa Timur, Indonesia] we are home industry/ manufacturer from material coconut shell and sea shell. with various design product like a wall tile, ceramic, shell carved, cococarved, tissubox, coconut frem, mirror, shell.... Y!: bhambuart Y!: bhambuart bhambu art gallery Aug. 17, 2011 2:30:22 [Jakarta-Pusat, Jakarta, Indonesia] bhambu art gallery Potrait, caricatur, design, etc... Y!: biru.kusuka Y!: biru.kusuka Send Message ROSELIA CORNER Aug. 13, 2011 23:15:34 [Malang, Jawa Timur, Indonesia] Roselia corner is a shop on-line and Art studio. We sell some products in GOOD QUALITY and REASONABLE PRICE . Right now we are specialized in selling All goods which are made of leather and.... GROSIR OLEH-OLEH HAJI DAN UMROH Aug. 7, 2011 10:56:32 [yogyakarta, Yogyakarta, Indonesia] Kami menyediakan berbagai Perlengkapan dan Oleh oleh untuk Umroh dan Haji anda.Lengkap , HARGA GROSIR ! ! ! kain-ihrom, sepatu-haji, kaos-haji, sandal-haji, sepatu-haji, bantal-haji, matras, Sajadah .... Y!: SEMANGAT Y!: SEMANGAT lukis lokal anak negri Aug. 5, 2011 22:44:21 [BANJAR NEGARA, Jawa Tengah, Indonesia] keunggulan dalam seni lukis, kadang tidak banyak yang memahami, namun kami sekelompok anak negri pecinta seni terutama seni lukis.kami menikmati sekali saat kita menggoreskan cat di kertas. seakan.... Alchalish business Aug. 5, 2011 3:19:36 [Pekanbaru, Riau, Indonesia] World Business, Trading and service. . Y!: ar_alhaajj Y!: ar_alhaajj Send Message KANZUL HIKMAH Aug. 4, 2011 17:32:20 [SUKABUMI, Jawa Barat, Indonesia] IS THE CENTER OF CRAFT TOOLS WISDOM AND ALL SORTS TALISMANS Contact us : A.R. AL-HAAJJ SMS : + 6285722233222 CALL : + 622662533222 - + 6281563495005 E-mail : ar_ alhaajj@ yahoo.co.id http: / .... Y!: cr3ativenet Y!: cr3ativenet Bengkel_ Wajah Jul. 31, 2011 15:25:43 [Muntilan, Jawa Tengah, Indonesia] We Accept Orders Caricature, Painting Photo, photo editing, cartoon character design, Graphic Design and caricature with background Digital painting ( Hand painting - Original) , dll.dan we make.... Y!: yeddi.nugraha@yahoo.com Y!: yeddi.nugraha yesintakaligrafi Jul. 30, 2011 0:39:14 [tasikmalaya, Jawa Barat, Indonesia] to be honest I just try to sell this time of writing or drawing calligraphy wall hangings are onlen to be in the message directly in a lot or a little, and hopefully it sukses.amin Clear All - Select All Select The Check Box and click Inquiry Now or Add to Basket or Put on Company Partner Result Page: [<-Prev] 1 2 3 4 5 6 7 8 9 10 11 12 [Next->] Language: Bahasa Indonesia | City in Indonesia: Surabaya - Jakarta - Bandung - Yogya - Bali - Semarang - Malang - Medan - PekanBaru - Makassar - Balikpapan - Pontianak - Banjarmasin - Batam - Palembang - Lampung - Samarinda - Padang - Mataram - Manado - Jambi - Aceh - PangkalPinang - Kupang - Palu - Madura - Kendari - Jayapura - Sorong Contact Us | Payment Confirmation | Recommend Us | Contact Us | Site Map | Privacy Policy | Refund Policy | Terms & Conditions Copyright © 2011 Indonetwork.net. All Rights Reserved. | e-mail: support@indonetwork.net 0.912176 1 203.21.74.23 w23 0 0

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'Jaipong' dance becomes latest victim of pornography law The controversial pornography law has been blasted for targeting cultural heritage, after West Java Governor Ahmad Heryawan used it as a legal basis to forbid Jaipong dancers from wearing "sexy" costumes and executing "provocative" dance moves. The West Java administration's ban has prompted severe criticism from artists and legislators who blast it as a move to curb the traditional arts and culture of local people. Erotic no more: A dancer performs Jaipong, a Sundanese folk dance, during a traditional festival in Gunung Halimun, West Java, in this 2008 file photo. (JP/J. Adiguna)Erotic no more: A dancer performs Jaipong, a Sundanese folk dance, during a traditional festival in Gunung Halimun, West Java, in this 2008 file photo. (JP/J. Adiguna) Bandung-born singer and dancer Dewi Gita said she did not see the need for the administration to delve into the matter when there were so many other problems affecting the province, including floods, poverty and expensive education. “You see, Jaipong has nearly vanished. It is our unique heritage and we should do our best to keep it alive. But instead of supporting the internationally recognized dance, the authorities encourage its extinction,” she said. Dewi, who traveled the world performing Jaipong in the 1990s, said that in the pre-reform era, she could travel abroad five times a year to perform, and always won huge praise from overseas audiences. But now, she said, a once-a-year international performance was considered lucky. “Jaipong has nothing to do with pornography, it's merely a cultural expression. The dance is actually derived from the traditional ketuk tilu dance, which is a way that girls attract boys in Sundanese traditional customs. No wonder, the girl must be provocative and sexy,” she said. Noted Sundanese artist Gugum Gumbira created Jaipong to help indigenous dance and music compete with Western popular shows, after then president Sukarno in 1961 banned rock and roll and other Western music. Although an urban dance, Jaipong is based primarily on village forms of ketuk tilu and on pencak silat, the Indonesian martial arts. Legislator and Padjadjaran University professor Chandra Wila said that besides suppressing cultural expression, the ban violated the porn law. “Jaipong is a form of cultural expression, and the law should protect it. Why they do they want to ban it?” Copyright © 2008 The Jakarta Post - PT Bina Media Tenggara. All Rights Reserved.

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Musical Instruments The great majority of musical instruments fall readily into one of six major categories: bowed strings, woodwind, brass, percussion, keyboard, and the guitar family, the first four of which form the basis of the modern symphony orchestra. Bowed Strings Bowed Strings The four principle orchestral string instruments are (in descending order of overall pitch) the violins (usually divided into two sections, playing individual parts), the violas, the cellos and the double basses. Each have four strings arranged in order of pitch, can be played by means of a bow (arco) or plucked (pizzicato), but whereas the violin and viola are played with the instrument resting between the shoulder and the chin, the larger cello (or, to give it its full title, violoncello) is placed facing outwards between and slightly behind the knees, and the bulky double bass is played standing up or seated on a high stool. Enthusiasts of Medieval, Renaissance and early Baroque music will encounter earlier varieties of bowed instruments known variously as vielle, viol, or in its earliest form, fidel (hence the modern nickname for a violin, 'fiddle'). The most popular member of the viol family is the cello's precursor, the viola da gamba (literally 'viol of the legs'). Woodwind The four principle woodwind instruments of the orchestra all work by means of a system of keys (usually silver-plated) which when variously depressed and released allow air to pass through differing lengths of the instrument resulting in notes of different pitch. In order of descending overall pitch, these are: FluteFlute a normally silver-plated (or in more extravagant cases, gold), narrow-bored instrument, held horizontally just under the mouth, and activated by blowing air across an aperture at one end of the instrument. Its higher-pitched cousin, the piccolo, is often encountered, although the lower alto flute rather less so. Early forebears include the unkeyed fife. The most popular close relation is the recorder family, largely unkeyed and end-blown in the vertical position. OboeOboe a narrow-bored wooden instrument descended from the medieval shawm, held vertically, and activated by means of placing the end-positioned double-reed in the mouth, and blowing under high-pressure so as to force air between the two bound reeds, causing them to vibrate. Other members of the oboe family include the lower pitched cor anglais (or English Horn), and (far more rarely) baritone oboe and heckelphone (bass oboe). The instrument's most famous predecessor is the Baroque oboe d'amore, often used by Johann Sebastian Bach. ClarinetClarinet like the oboe usually wooden, played vertically and held in the mouth, but with a wider bore and consisting of a single reed which when activated vibrates against a detachable mouthpiece. The standard instrument can be pitched in B flat (usually) or A, and the family is unusually extensive including the higher-pitched E flat, the B flat bass, the rarely-used C, the alto (a modern relative of the basset horn), and the even more obscure double-bass or 'pedal' clarinet. Occasionally the clarinet's 'popular' cousin can be seen in the concert hall, the saxophone. BassoonBassoon as the name would suggest, the bass member of the woodwind family, and by far the largest, especially its lower-pitched relation, the extremely bulky double or contra-bassoon. Like the oboe, it is a double-reed instrument, although to facilitate the playing action (the instrument is normally held across and in front of the body) it is connected to the bassoon via a silver-plated, curved crook. Its most notorious cousin is the Baroque serpent, shaped very much as its name would suggest. Brass Instruments Brass instruments are also activated by blowing into them, although instead of using a form of reed over which the mouth is placed, the lips are placed against or inside the cup of a metal mouthpiece, and made to vibrate against its inner rim. In order of descending pitch, these are: TrumpetTrumpet one of the most ancient of all instruments. Played horizontally via a series of valves on the top of the instrument which are opened and closed in various combinations to create different pitches. Occasionally, the piccolo (higher) or bass (lower) trumpets are heard (and the trumpet's 'popular' cousin, the cornet), although more common nowadays in 'authentic' Baroque orchestras (which use instruments of the correct period or copies thereof), is the 'natural' or valveless trumpet. The more notationally limited bugle is rarely heard away from its traditional military context. French hornFrench horn another ancient instrument, descended from the use of animals' horns (hence the name) in pre-historic times. The modern instrument is the most outwardly complex, consisting of a basic tube, rounded into a compact shape culminating in a conical bore or bell, into which a series of valves are centrally set. Before the valve system had been developed, the changing of basic pitch was facilitated by the insertion of a variety of crooks which altered the length of the basic tube, and the changing of certain notes by holding the hand in a variety of subtly differentiated positions within the bell. In a popular context the term 'horn' invariably refers to the saxophone, and for the cor anglais see 'oboe' under the woodwind section above. Traditionally, the French horn section is seated away from the rest of the brass family. TromboneTrombone descended from the medieval sackbutt, it is the only popular orchestral wind instrument which operates without the use of a valve or key system. The trombone is easily recognisable by its extended elliptical shape culminating in a conical bore, and its distinctive use of a hand-operated slide held out in front, in order to change pitch. The slide can be moved to any one of seven main positions, each of which facilitate a different series of notes. The tenor and bass trombone are occasionally seen (especially the latter), although the alto and double-bass are extreme rarities. TubaTuba not unlike the French horn in basic construction, only more oval in shape and much bigger. The piston valve action is similar to the trumpet, only the valves themselves are situated in the middle of the instrument. A variety of types and sizes exist aside from the typical concert instrument in F (bass tuba), including the tenor tuba (higher), and double-bass tuba (lower), often referred to as a bombardon in a military or brass band context. Percussion instruments A percussion instrument is probably best defined as one where a resonating surface is struck by the player, either by hand or by some form of stick. These divide roughly into tuned instruments which have a definite pitch or series of pitches, and those of indefinite pitch. Popular examples of both types are: TunedTuned timpani or kettle drum, xylophone, glockenspiel, tubular bells, vibraphone, marimba. Occasionally, the piano and celesta (see left) are included in scores as part of the percussion section. Indefinite pitchIndefinite pitch triangle, gong, castanets, whip, rattle, anvil, tambourine, cymbals (struck and clashing), and a variety of drums (side, tenor, bass, tabor, bongo etc.). Keyboard instruments Conveniently collected together as any instrument which is operated by means of a standard keyboard, the differences in operation are wide-ranging and carry obvious associations with certain of the above categories. These break down into four main types: Plucked mostly instruments emanating from the 17th/18th centuries where a series of stretched and tuned strings are plucked by a quill or plectrum (e.g. harpsichord, virginal, spinet). StruckStruck where the strings are actually hit, either by a tangent (e.g. 17th/18th century clavichord), or hammers (e.g. piano, celesta). AeratedAerated where the notes are activated by a column of mechanically propelled air within a series of tuned pipes (e.g. organ). Electronic where a number of effects approximating to those derived from any of the above instruments, as well as totally original sounds, can be achieved (e.g. electronic organ, synthesizer). Guitar family Guitar family The 'classical' guitar is typically a Spanish-derived, six-stringed instrument played using a plectrum or the finger-nails, with frets set into the fingerboard. Popular music tends to use amplification for both six-stringed instruments and the four-string bass guitar. The guitar family gradually supplanted the lute which had come to prominence during the Renaissance. Composer Artist Composition Title Disc Title Catalogue No. Introduction to Classical Music Introduction Music Categories Musical Instruments History of Classical Music Discover the Classics Vol. 1 | Vol. 2 | Vol. 3 | Vol. 4 Glossary A-Z of Opera Introduction Synopses of Opera Index of Operas by Composer Opera Libretti How To Enjoy A Live Concert A Note from the Author Introduction The Listener's Job Description Part 1: Before the Concert Choosing a Concert Kinds of Concerts Styles of Presentation: Formal, Informal, and Beyond Buying a Ticket Sections of the Theater Getting Ready Getting There Part 2: At the Concert "Concert Manners" The Concert Ritual Reading the Program Instruments of the Orchestra Ways to Listen Meeting the Performers Essential Life Support A Brief Glossary Naxos Educational Albums About Classical Music | Classical Music Home | Genre | Period | About Us | Contact Us | Distributors | Newsletter Archive | FAQs | Licensing | Site Map | RSS | Reviews Archive Famous Composers Quick Link: Bach | Beethoven | Chopin | Dowland | Handel | Haydn | Mozart | Glazunov | Schumann | R Strauss | Vivaldi 8:36:28 AM, 21 October 2011 All Naxos Historical, Naxos Classical Archives, Naxos Jazz, Folk and Rock Legends and Naxos Nostalgia titles are not available in the United States and some titles may not be available in Australia and Singapore because these countries have copyright laws that provide or may provide for terms of protection for sound recordings that differ from the rest of the world. Copyright © 2011 Naxos Digital Services Ltd. All rights reserved. Terms of Use Privacy Policy

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Wayang Sebuah Bentuk Pengakuan Dunia indosiar.com - Kata Wayang itu sendiri berasal dari kata bayang yang merupakan sebuah ritual zaman purbakala sebagai upacara memanggil arwah dengan cara memasang lampu minyak kelapa dan menayangkan bayangan pada dinding atau kain putih yang dibentangkan. Wayang kemudian berkembang sejak abad ke-IX dan ke-X sebagai media untuk pementasan lakon-lakon yang diciptakan bertemakan sastra epos Ramayana dan Mahabharata, dan kemudian sejak abad-abad pertengahan diciptakan pula lakon-lakon bertemakan agama Islam. Jenis-jenis wayang berkembang pesat dari zaman ke zaman, sehingga pada saat ini terdapat lebih dari 60 jenis wayang, tersebar di seluruh Indonesia. Beberapa jenis wayang berupa boneka 2 dimensi, terbuat dari kulit, dioperasikan oleh dalang di depan layar kain dan diterangi oleh lampu. Pertunjukkan ini dapat ditonton dari depan atau dari belakang layar, misalnya Wayang Kulit Purwa Gaya Surakarta. Beberapa jenis wayang terdiri dari boneka-boneka tiga dimensi terbuat dari kayu, misalnya Wayang Golek dari Sunda. Adapun wayang yang peran-perannya dimainkan oleh manusia, misalnya Wayang Orang, bahkan ada yang menggunakan gambar pada gulungan kain (Wayang Beber) atau yang tidak memakai alat bantu sama sekali, tetapi hanya suara dan gerak tubuh manusia (Wayang Jemblung Banyumas). Wayang dianggap sebagai bentuk kesenian istimewa karena memiliki sifat-sifat yang dalam bahasa Jawa disebut adiluhung dan edipeni, yaitu sangat agung, luhur, dan juga indah (etika dan estetika). Para sarjana dunia telah menyebutkan wayang sebagai bentuk drama yang paling canggih di dunia. Wayang berfungsi sebagai tontonan dan tuntunan, dan merupakan gabungan lima jenis seni; yakni: 1. Seni Widya (filsafat dan pendidikan) 2. Seni Drama (pentas dan musik karawitan) 3. Seni Gatra (pahat dan seni lukis) 4. Seni Ripta (sangit dan sastra) 5. Seni Cipta (konsepsi dan ciptaan-ciptaan baru) Dalam perjalannya, kesenian Indonesia ini memiliki perubahan dan pasang surut. Belum ada penilaian seni dari hasil perkembangannya di abat modren ini. Namun yang pasti, kesenian kuno ini kembali ditetapkan oleh UNESCO sebagai salah satu dari 90 maha karya kesenian warisan dunia yang diakui. Penetapan itu berdasarkan hasil sidang UNESCO pada 2024 November 2005 lalu. Penetapan ini merupakan yang ketiga kalinya dilakukan oleh badan dunia tersebut terhadap kesenian tradisional Indonesia . Penetapan pertama dilakukan UNESCO pada tahun 2003 lalu. "Mudah-mudahan penetapan tahun 2005 lalu itu sebagai penetapan yang terakhir kali bagi kesenian wayang dan diikuti oleh 30 negara lainnya, seperti beberapa negara sebelumnya yang sudah mengakui wayang," kata Jero Wacik, menteri kebudayaan dan parisawata Indonesia di kantornya. Dengan penetapan ini, kelestarian kesenian wayang tidak hanya akan dijamin oleh bangsa Indonesia sendiri, tetapi juga akan menjadi perhatian oleh negara-negara dunia. "Bukan diakui tetapi akan menjadi tanggung jawab mereka jika kita tidak mampu merawat dan menjaganya dengan baik," ujarnya prihatin. Alunan nyanyian sinden dan gending pengiring wayangan, kini gemanya tidak begitu menggetarkan. Diakui Menteri, kesenian ini hanya sayup-sayup berpentas di beberapa tempat tertentu. Unsur pementasannya bukan lagi menunjukkan sebagai pelestarian kesenian budaya, tapi hanya terpatok pada komersilistis. Sementara untuk tetap menghidupkannya kembali kepakemannya seperti dulu, perlu untuk membuka kembali lembaran-lembaran kuno cerita babat tanah leluhur. Tapi "Para anggota pementasan yang semula menjunjung tinggi dan mengesahkan kesenian ini, berubah arah. Alasannya karena merasa tidak ada penghargaan terhadap kesetiaan mereka," ujar Jero prihatin. Jadi yang pertama, agar kesenian ini tetap menjadi milik bangsa Indonesia, adalah mencintai karya seni sendiri dengan menghargainya seperti milik sendiri. Termasuk yang pertama adalah peduli terhadap kehidupan sang pedalang sebagai pembawa cerita, menghidupkan dulu pesinden, serta perawatan atas gending. Wajar jika ramai tidaknya sebuah cerita yang dilakonkan, tergantung kepada besar kecilnya penghargaan yang derikan kepada dalang. Pengakuan atas Wayang ini, diharapkan bisa memberikan pembaruan terhadap kelangsungan hidup kebudayaan wayang. Karena hasil penetapan oleh UNESCO ini, juga mengikut sertakan penyaluran dana untuk pemeliharaan kesenian wayang di tanah Indonesia.(Her/rev) Bookmark and Share HOME | INFO IKLAN | ABOUT US | CONTACT US | INTERNAL MAIL Copyright © 2009 - PT INDOSIAR VISUAL MANDIRI Tbk.

Classical music

From Wikipedia, the free encyclopedia Jump to: navigation, search Montage of great classical music composers. From left to right: Top row – Antonio Vivaldi, Johann Sebastian Bach, George Frideric Handel, Wolfgang Amadeus Mozart, Ludwig van Beethoven; second row – Gioachino Rossini, Felix Mendelssohn, Frédéric Chopin, Richard Wagner, Giuseppe Verdi; third row – Johann Strauss II, Johannes Brahms, Georges Bizet, Pyotr Ilyich Tchaikovsky, Antonín Dvořák; bottom row – Edvard Grieg, Edward Elgar, Sergei Rachmaninoff, George Gershwin, Aram Khachaturian This article is about Western art music from 1000 AD to the present. For Western art music from 1750 to 1820, see Classical period (music). For other classical music traditions, see List of classical and art music traditions. Classical music is the art music produced in, or rooted in, the traditions of Western liturgical and secular music, encompassing a broad period from roughly the 11th century to present times.[1] The central norms of this tradition became codified between 1550 and 1900, which is known as the common practice period. European music is largely distinguished from many other non-European and popular musical forms by its system of staff notation, in use since about the 16th century.[2] Western staff notation is used by composers to prescribe to the performer the pitch, speed, meter, individual rhythms and exact execution of a piece of music. This leaves less room for practices such as improvisation and ad libitum ornamentation, that are frequently heard in non-European art music and popular music.[3][4][5] The term "classical music" did not appear until the early 19th century, in an attempt to "canonize" the period from Johann Sebastian Bach to Beethoven as a golden age.[6] The earliest reference to "classical music" recorded by the Oxford English Dictionary is from about 1836.[1][7] Characteristics Given the extremely broad variety of forms, styles, genres, and historical periods generally perceived as being described by the term "classical music," it is difficult to list characteristics that can be attributed to all works of that type. Vague descriptions are plentiful, such as describing classical music as anything that "lasts a long time," a statement made rather moot when one considers contemporary composers who are described as classical; or music that has certain instruments like violins, which are also found in other genres. However, there are characteristics that classical music contains that few or no other genres of music contain.[8] [edit] Literature The most outstanding and particular characteristic of classical music is that the repertoire tends to be written down. Composers and performers alike are typically highly literate in understanding notation and the written quality of the music has, in addition to preserving the works, led to a high level of complexity within them. [edit] Instrumentation The Dublin Philharmonic Orchestra performs Tchaikovsky's Fourth Symphony. The instruments used in most classical music were largely invented before the mid-19th century (often much earlier), and codified in the 18th and 19th centuries. They consist of the instruments found in an orchestra, together with a few other solo instruments (such as the piano, harpsichord, and organ). The symphony orchestra is the most widely known medium for classical music.[9] The orchestra includes members of the string, woodwind, brass, and percussion families. Electric instruments such as the electric guitar appear occasionally in the classical music of the 20th and 21st centuries. Both classical and popular musicians have experimented in recent decades with electronic instruments such as the synthesizer, electric and digital techniques such as the use of sampled or computer-generated sounds, and the sounds of instruments from other cultures such as the gamelan. None of the bass instruments existed until the Renaissance. In Medieval music, instruments are divided in two categories: loud instruments for use outdoors or in church, and quieter instruments for indoor use. The Baroque orchestra consisted of flutes, oboes, horns and violins, occasionally with trumpets and timpani.[9] Many instruments which are associated today with popular music used to have important roles in early classical music, such as bagpipes, vihuelas, hurdy-gurdies and some woodwind instruments. On the other hand, instruments such as the acoustic guitar, which used to be associated mainly with popular music, have gained prominence in classical music through the 19th and 20th centuries. While equal temperament became gradually accepted as the dominant musical temperament during the 19th century, different historical temperaments are often used for music from earlier periods. For instance, music of the English Renaissance is often performed in mean tone temperament. Keyboards almost all share a common layout (often called the piano keyboard). [edit] Form Whereas the majority of popular styles lend themselves to the song form, classical music can also take on the form of the concerto, symphony, sonata, opera, dance music, suite, étude, symphonic poem, and others. Classical composers often aspire to imbue their music with a very complex relationship between its affective (emotional) content and the intellectual means by which it is achieved. Many of the most esteemed works of classical music make use of musical development, the process by which a musical idea or motif is repeated in different contexts or in altered form. The sonata form and fugue employ rigorous forms of musical development. [edit] Technical execution Along with a desire for composers to attain high technical achievement in writing their music, performers of classical music are faced with similar goals of technical mastery, as demonstrated by the proportionately high amount of schooling and private study most successful classical musicians have had when compared to "popular" genre musicians, and the large number of secondary schools, including conservatories, dedicated to the study of classical music. The only other genre in the Western world with comparable secondary education opportunities is jazz. [edit] Complexity Performance of classical music repertoire demands a significant level of technical mastery on the part of the musician; proficiency in sight-reading and ensemble playing, thorough understanding of tonal and harmonic principles, knowledge of performance practice, and a familiarity with the style/musical idiom inherent to a given period, composer or musical work are among the most essential of skills for the classically trained musician. Works of classical repertoire often exhibit artistic complexity through the use of thematic development, phrasing, harmonization, modulation (change of key), texture, and, of course, musical form itself. Larger-scale compositional forms (such as that of the symphony, concerto, opera or oratorio, for example) usually represent a hierarchy of smaller units consisting of phrases, periods, sections, and movements. Musical analysis of a composition aims at achieving greater understanding of it, leading to more meaningful hearing and a greater appreciation of the composer's style. [edit] Society Classical music is often perceived as opulent or signifying some aspect of upper-level society. However, the traditional perception that only upper-class society has access to and appreciation for classical music, or even that classical music represents the upper-class society, may not be true, given that many working classical musicians fall somewhere in the middle-class income range in the United States,[10] and that classical concertgoers and CD buyers are not necessarily upper class. Even in the Classical era, Mozart's opere buffe such as Così fan tutte were popular with the general public. Classical music regularly features in pop culture, forming background music for movies, television programs and advertisements. As a result most people in the Western World regularly and often unknowingly listen to classical music; thus, it can be argued that the relatively low levels of recorded music sales may not be a good indicator of its actual popularity. In more recent times the association of certain classical pieces with major events has led to brief upsurges in interest in particular classical genres. A good example of this was the choice of Nessun dorma from Giacomo Puccini's opera Turandot as the theme tune for the 1990 FIFA World Cup, which led to a noticeable increase in popular interest in opera and in particular in tenor arias, which led to the huge sellout concerts by The Three Tenors. Such events are often cited as helping to drive increases in the audiences at many classical concerts that have been observed in recent times. [edit] History Periods of Western art music Early Medieval (500–1400) Renaissance (1400–1600) Baroque (1600–1760) Common practice Baroque (1600–1760) Classical (1750–1830) Romantic (1815–1910) Modern and contemporary 20th century (1900–2000) Contemporary (1975–present) 21st century (2000–present) Main article: History of music The major time divisions of classical music are the early music period, which includes Medieval (500–1400) and Renaissance (1400–1600), the Common practice period, which includes the Baroque (1600–1750), Classical (1750–1830) and Romantic (1815–1910) periods, and the modern and contemporary period, which includes 20th century (1900–2000) and contemporary (1975–current). The dates are generalizations, since the periods overlapped and the categories are somewhat arbitrary. For example, the use of counterpoint and fugue, which is considered characteristic of the Baroque era, was continued by Haydn, who is classified as typical of the Classical period. Beethoven, who is often described as a founder of the Romantic period, and Brahms, who is classified as Romantic, also used counterpoint and fugue, but other characteristics of their music define their period. The prefix neo is used to describe a 20th century or contemporary composition written in the style of an earlier period, such as Classical or Romantic. Stravinsky's Pulcinella, for example, is a neoclassical composition because it is stylistically similar to works of the Classical period. [edit] Roots Main article: Ancient music The roots of Western classical music lie in early Christian liturgical music, and its influences date back to the Ancient Greeks. Development of individual tones and scales was done by ancient Greeks such as Aristoxenus and Pythagoras.[11] Pythagoras created a tuning system and helped to codify musical notation. Ancient Greek instruments such as the aulos (a reed instrument) and the lyre (a stringed instrument similar to a small harp) eventually led to the modern-day instruments of a classical orchestra.[12] The antecedent to the early period was the era of ancient music from before the fall of the Roman Empire (476 AD). Very little music survives from this time, most of it from Ancient Greece. [edit] Early Period A musician plays the vielle in a fourteenth-century Medieval manuscript. The chanson Belle, bonne, sage by Baude Cordier, an ars subtilior piece included in the Chantilly Codex. Johannes Ockeghem, Kyrie "Au travail suis," excerpt. Main articles: Medieval music and Renaissance music See also: List of Medieval composers and List of Renaissance composers The Medieval period includes music from after the fall of Rome to about 1400. Monophonic chant, also called plainsong or Gregorian Chant, was the dominant form until about 1100.[13] Polyphonic (multi-voiced) music developed from monophonic chant throughout the late Middle Ages and into the Renaissance, including the more complex voicings of motets. The Renaissance period was from 1400 to 1600. It was characterized by greater use of instrumentation, multiple interweaving melodic lines, and the use of the first bass instruments. Social dancing became more widespread, so musical forms appropriate to accompanying dance began to standardize. It is in this time that the notation of music on a staff and other elements of musical notation began to take shape.[14] This invention made possible the separation of the composition of a piece of music from its transmission; without written music, transmission was oral, and subject to change every time it was transmitted. With a musical score, a work of music could be performed without the composer's presence.[13] The invention of the movable-type printing press in the 15th century had far-reaching consequences on the preservation and transmission of music.[15] Typical stringed instruments of the Early Period include the harp, lute, vielle, and psaltery, while wind instruments included the flute family (including recorder), shawm (an early member of the oboe family), trumpet, and the bagpipe. Simple pipe organs existed, but were largely confined to churches, although there were portable varieties.[16] Later in the period, early versions of keyboard instruments like the clavichord and harpsichord began to appear. Stringed instruments such as the viol had emerged by the 16th century, as had a wider variety of brass and reed instruments. Printing enabled the standardization of descriptions and specifications of instruments, as well as instruction in their use.[17] [edit] Common Practice Period The Common Practice Period is when many of the ideas that make up western classical music took shape, standardized, or were codified. It began with the Baroque era, running from roughly 1600 to the middle of the 18th century. The Classical era followed, ending roughly around 1820. The Romantic era ran through the 19th century, ending about 1910. [edit] Baroque music Baroque instruments including hurdy gurdy, harpsichord, bass viol, lute, violin, and baroque guitar. Main article: Baroque music See also: List of Baroque composers Baroque music is characterized by the use of complex tonal counterpoint and the use of a basso continuo, a continuous bass line. Music became more complex in comparison with the songs of earlier periods.[9] The beginnings of the sonata form took shape in the canzona, as did a more formalized notion of theme and variations. The tonalities of major and minor as means for managing dissonance and chromaticism in music took full shape.[18] During the Baroque era, keyboard music played on the harpsichord and pipe organ became increasingly popular, and the violin family of stringed instruments took the form generally seen today. Opera as a staged musical drama began to differentiate itself from earlier musical and dramatic forms, and vocal forms like the cantata and oratorio became more common.[19] Vocalists began adding embellishments to melodies.[9] Instrumental ensembles began to distinguish and standardize by size, giving rise to the early orchestra for larger ensembles, with chamber music being written for smaller groups of instruments where parts are played by individual (instead of massed) instruments. The concerto as a vehicle for solo performance accompanied by an orchestra became widespread, although the relationship between soloist and orchestra was relatively simple. The theories surrounding equal temperament began to be put in wider practice, especially as it enabled a wider range of chromatic possibilities in hard-to-tune keyboard instruments. Although Bach did not use equal temperament, as a modern piano is generally tuned, changes in the temperaments from the meantone system, common at the time, to various temperaments that made modulation between all keys musically acceptable, made possible Bach's Well-Tempered Clavier.[20] [edit] Classical period music Joseph Haydn (1732–1809) ca. 1770. Main article: Classical period (music) See also: List of Classical era composers The Classical period, from about 1750 to 1820, established many of the norms of composition, presentation, and style, and was also when the piano became the predominant keyboard instrument. The basic forces required for an orchestra became somewhat standardized (although they would grow as the potential of a wider array of instruments was developed in the following centuries). Chamber music grew to include ensembles with as many as 8–10 performers for serenades. Opera continued to develop, with regional styles in Italy, France, and German-speaking lands. The opera buffa, a form of comic opera, rose in popularity. The symphony came into its own as a musical form, and the concerto was developed as a vehicle for displays of virtuoso playing skill. Orchestras no longer required a harpsichord (which had been part of the traditional continuo in the Baroque style), and were often led by the lead violinist (now called the concertmaster).[21] Wind instruments became more refined in the Classical period. While double reeded instruments like the oboe and bassoon became somewhat standardized in the Baroque, the clarinet family of single reeds was not widely used until Mozart expanded its role in orchestral, chamber, and concerto settings. [edit] Romantic era music Main article: Romantic music See also: List of Romantic composers The music of the Romantic era, from roughly the second decade of the 19th century to the early 20th century, was characterized by increased attention to an extended melodic line, as well as expressive and emotional elements, paralleling romanticism in other art forms. Musical forms began to break from the Classical era forms (even as those were being codified), with free-form pieces like nocturnes, fantasias, and preludes being written where accepted ideas about the exposition and development of themes were ignored or minimized.[22] The music became more chromatic, dissonant, and tonally colorful, with tensions (with respect to accepted norms of the older forms) about key signatures increasing.[23] The art song (or Lied) came to maturity in this era, as did the epic scales of grand opera, ultimately transcended by Richard Wagner's Ring cycle.[24] In the 19th century, musical institutions emerged from the control of wealthy patrons, as composers and musicians could construct lives independent of the nobility. Increasing interest in music by the growing middle classes throughout western Europe spurred the creation of organizations for the teaching, performance, and preservation of music. The piano, which achieved its modern construction in this era (in part due to industrial advances in metallurgy) became widely popular with the middle class, whose demands for the instrument spurred a large number of piano builders. Many symphony orchestras date their founding to this era.[23] Some musicians and composers were the stars of the day; some, like Franz Liszt and Niccolò Paganini, fulfilled both roles.[25] The family of instruments used, especially in orchestras, grew. A wider array of percussion instruments began to appear. Brass instruments took on larger roles, as the introduction of rotary valves made it possible for them to play a wider range of notes. The size of the orchestra (typically around 40 in the Classical era) grew to be over 100.[23] Gustav Mahler's 1906 Symphony No. 8, for example, has been performed with over 150 instrumentalists and choirs of over 400. European cultural ideas and institutions began to follow colonial expansion into other parts of the world. There was also a rise, especially toward the end of the era, of nationalism in music (echoing, in some cases, political sentiments of the time), as composers such as Edvard Grieg, Nikolai Rimsky-Korsakov, and Antonín Dvořák echoed traditional music of their homelands in their compositions.[26] [edit] 20th century, modern, and contemporary music Igor Stravinsky and Pablo Picasso collaborated on Pulcinella in 1920. Main articles: 20th-century classical music, Contemporary classical music, and 21st-century classical music See also: List of 20th-century classical composers by birth date and List of 21st-century classical composers Modernism (1905–1985) marked a period when many composers rejected certain values of the common practice period, such as traditional tonality, melody, instrumentation, and structure. Composers, academics, and musicians developed extensions of music theory and technique.[citation needed] 20th century classical music, encompassing a wide variety of post-Romantic styles composed through the year 1999, includes late Romantic, Modern and Postmodern styles of composition. The term "contemporary music" is sometimes used to describe music composed in the late 20th century through to the present day. [edit] Significance of written notation [edit] Modernist view of the significance of the score The modernist views hold that Classical music is considered primarily a written musical tradition, preserved in music notation, as opposed to being transmitted orally, by rote, or by recordings of particular performances. While there are differences between particular performances of a classical work, a piece of classical music is generally held to transcend any interpretation of it. The use of musical notation is an effective method for transmitting classical music, since the written music contains the technical instructions for performing the work. The written score, however, does not usually contain explicit instructions as to how to interpret the piece in terms of production or performance, apart from directions for dynamics, tempo and expression (to a certain extent). This is left to the discretion of the performers, who are guided by their personal experience and musical education, their knowledge of the work's idiom, their personal artistic tastes, and the accumulated body of historic performance practices. [edit] Criticism of the modernist view Some critics express the opinion that it is only from the mid 19th century, and especially in the 20th century, that the score began to hold such a high significance. Previously, improvisation, rhythmic flexibility, improvisatory deviation from the score and oral tradition of playing was integral to style of music. Yet in the 20th century, this oral tradition and passing on of stylistic features within classical music disappeared. Instead, musicians use the score to play music, yet even given the score, there is considerable controversy about how to perform the works. Some of this controversy relates to the fact that this score-centric approach has led to performing styles that emphasize metrically strict block-rhythms (just as the music is notated in the score). Some quotes that highlight this criticism of modernist overvaluing of the score: * [...]one of the most stubborn modern misconceptions concerning baroque music is that a metronomic regularity was intended (Baroque Interpretation in Grove 5th edition by Robert Donington) * Too many teachers, conditioned to 20th Century ideas, teach Bach and other Baroque music exactly the wrong way. This leads to what musicologist Sol Babitz calls "sewing machine Bach."[27] * [...] tendency to look alike, sound alike and think alike. The conservatories are at fault and they have been at fault for many years now. Any sensitive musician going around the World has noted the same thing. The conservatories, from Moscow and Leningrad to Juilliard, Curtis and Indiana, are producing a standardized product. [...] clarity, undeviating rhythm, easy technique, "musicianship". I put the word musicianship in quotes, because as often as not, it is a false kind of musicianship – a musicianship that sees the tree and not the forest, that takes care of the detail but ignores the big picture; a musicianship that is tied to the printed note rather than to emotional meaning of a piece. The fact remains that there is a dreadful uniformity today and also an appalling lack of knowledge about the culture and performance traditions of the past. (Music Schools Turning out Robots?[27] by Harold C. Schonberg) [edit] Improvisation Improvisation once played an important role in classical music. A remnant of this improvisatory tradition in classical music can be heard in the cadenza, a passage found mostly in concertos and solo works, designed to allow skilled performers to exhibit their virtuoso skills on the instrument. Traditionally this was improvised by the performer; however, it is often written for (or occasionally by) the performer beforehand. Improvisation is also an important aspect in authentic performances of operas of Baroque era and of bel canto (especially operas of Vincenzo Bellini), and is best exemplified by the da capo aria, a form by which famous singers typically perform variations of the thematic matter of the aria in the recapitulation section ('B section' / the 'da capo' part). An example is Beverly Sills' complex, albeit pre-written, variation of Da tempeste il legno infranto from Händel's Giulio Cesare. Its written transmission, along with the veneration bestowed on certain classical works, has led to the expectation that performers will play a work in a way that realizes in detail the original intentions of the composer. During the 19th century the details that composers put in their scores generally increased. Yet the opposite trend – admiration of performers for new "interpretations" of the composer's work – can be seen, and it is not unknown for a composer to praise a performer for achieving a better realization of the original intent than the composer was able to imagine. Thus, classical performers often achieve very high reputations for their musicianship, even if they do not compose themselves. Generally however, it is the composers who are remembered more than the performers. Another consequence of the primacy of the composer's written score is that this has led to the state, where today improvisation plays a relatively minor role in classical music, in sharp contrast to musicians who lived during the baroque, classical and romantic era. Improvisation in classical music performance was common during both the Baroque era and in the nineteenth, yet lessened strongly during the 2nd half of the 19th and in the 20th centuries. Recently the performance of such music by modern classical musicians has been enriched by a revival of the old improvisational practices. During the classical period, Mozart and Beethoven often improvised the cadenzas to their piano concertos (and thereby encouraged others to do so), but they also provided written cadenzas for use by other soloists. In opera, the practice of singing strictly by the score i.e. come scritto, is famously propagated by Maria Callas, who called this practice 'straitjacketing' and implied that it allows the intention of the composer to be understood better, especially during studying the music for the first time. [edit] Relationship to other music traditions [edit] Popular music Classical music has often incorporated elements or material from popular music of the composer's time. Examples include occasional music such as Brahms' use of student drinking songs in his Academic Festival Overture, genres exemplified by Kurt Weill's The Threepenny Opera, and the influence of jazz on early- and mid-20th century composers including Maurice Ravel, exemplified by the movement entitled "Blues" in his sonata for violin and piano.[28] Certain postmodern, minimalist and postminimalist classical composers acknowledge a debt to popular music.[29] There are numerous examples of influence in the opposite direction, including popular songs based on classical music, the use to which Pachelbel's Canon has been put since the 1970s, and the musical crossover phenomenon, where classical musicians have achieved success in the popular music arena.[30] [edit] Folk music Composers of classical music have often made use of folk music (music created by musicians who are commonly not classically trained, often from a purely oral tradition). Some composers, like Dvořák and Smetana,[31] have used folk themes to impart a nationalist flavor to their work, while others (like Bartók) have used specific themes lifted whole from their folk-music origins.[32] [edit] Commercialism Certain staples of classical music are often used commercially (either in advertising or in movie soundtracks). In television commercials, several passages have become clichéd, particularly the opening of Richard Strauss' Also sprach Zarathustra (made famous in the film 2001: A Space Odyssey) and the opening section "O Fortuna" of Carl Orff's Carmina Burana; other examples include the Dies Irae from the Verdi Requiem, Edvard Grieg's In the Hall of the Mountain King from Peer Gynt, the opening bars of Beethoven's Symphony No. 5, Wagner's Ride of the Valkyries from Die Walküre, Rimsky-Korsakov's "Flight of the Bumblebee", and excerpts of Aaron Copland's Rodeo. Similarly, movies and television often revert to standard, clichéd snatches of classical music to convey refinement or opulence: some of the most-often heard pieces in this category include Mozart's Eine kleine Nachtmusik, Vivaldi's Four Seasons, Mussorgsky's Night on Bald Mountain (as orchestrated by Rimsky-Korsakov), and Rossini's William Tell Overture. [edit] Education Main article: Music education Throughout history, parents have often made sure that their children receive classical music training from a young age. Some parents pursue music lessons for their children for social reasons or in an effort to instill a sense of self-discipline.[citation needed] Some believe that knowledge of important works of classical music is part of a good general education. During the 1990s, several research papers and popular books wrote on what came to be called the "Mozart effect": an observed temporary, small elevation of scores on certain tests as a result of listening to Mozart's works. The approach has been popularized in a book by Don Campbell, and is based on an experiment published in Nature suggesting that listening to Mozart temporarily boosted students' IQ by 8 to 9 points.[33] This popularized version of the theory was expressed succinctly by a New York Times music columnist: "researchers... have determined that listening to Mozart actually makes you smarter."[34] Promoters marketed CDs claimed to induce the effect. Florida passed a law requiring toddlers in state-run schools to listen to classical music every day, and in 1998 the governor of Georgia budgeted $105,000 per year to provide every child born in Georgia with a tape or CD of classical music. One of the co-authors of the original studies of the Mozart effect commented "I don't think it can hurt. I'm all for exposing children to wonderful cultural experiences. But I do think the money could be better spent on music education programs."[35] * This page was last modified on 16 October 2011 at 09:50. * Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. See Terms of use for details. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization. * Contact us

kompasiana.com

PASANGAN SERASI IRAMA DAN MELODI OPINI | 27 December 2010 | 11:10 35 0 Nihil Musik merupakan media ungkap ekspresi yang paling efektif. Ekspresi ini sejalan dengan perkembangan peradaban manusia dan kemajuan ilmu pengetahuan yang lain. Musik memiliki peran yang sangat komprehensif, antara lain membantu perkembangan emosi,, sosial, fisik, kognitif ( Saefeld, 1994: Lowenfeldt, 1982). Sejalan dengan pendapat tersebut beberapa hasil penelitian menunjukan bahwa musik memiliki sumbangan yang signifikan untuk meningkatkan kecerdasan anak (Gardiner, dalam Kompas, 1996). Berdasarkan pendapat diatas dapat disimpulkan bahwa music memiliki peran yang sangat penting terhadap perkembangan variasi kecerdasan pada anak. Pengajaran music di SD adalah bagian dari pendidikan keseluruhan anak pada tahap pembentukan pribadinya. Untuk melaksanakan pengajaran musik di SD hendaknya kita mempunyai rumusan tujuan pengajaran musik di SD agar dalam pelaksanaannya guru selalu berpedoman kepada tujuan yang hendak dicapai. Tujuan pengajaran musik di SD ini harus dijabarkan menjadi beberapa tujuan instruksional umum yang lazim disebut TIU sesuai dengan pengelompokkan unsur-unsur musik yang esensial antaralain irama, melodi, harmoni, bentuk/struktur lagu, dan ekspresi. Namun kali ini kita akan belajar dua unsur musik terlebih dahulu yaitu irama dan melodi, keduanya merupakan unsur dasar dari sebuh lagu. 1. Irama Irama adalah urutan rangkaian gerak yang menjadi unsur musik dan tari. Irama diartikan gerak yang teratur,panjang-pendek membentuk pola irama bergerak menurut pulsa dalam ayunan birama. Murid dapat memiliki pengetahuan tentang irama, merasakan irama melalui pengalaman dan penghayatan musik, mempunyai bayangan penginderaan gerak irama, membuat gerak irama, membuat pola-pola irama sederhana, dan membaca notasi pola-pola irama dengan benar. 2. Melodi Melodi merupakan unsur kedua musik setelah irama. Orang bernyanyi selalu menghasilkan melodi yang menjadi perhatian para penikmat musik. Melodi berarti susunan nada berurutan dan berirama yang mengungkapkan sebuah gagasan. Murid dapat memiliki pengetahuan tentang melodi, merasakan melodi melalui pengalaman dan penghayatan musik, mempunyai bayangan penginderaan gerak melodi membuat pola-pola melodi sederhana, dan membaca notasi melodi dengan benar. Karya music bermacam-macam bentuknya ada yang pembuatannya mendahulukan irama kemudian baru melodi namun ada juga yang membuat melodi dahulu baru membuat pola irama. Namun ada juga yang membuat kombinasi dari keseluruhan unsure music seperti irama, melodi, dan harmoni. Unsure dasarnya hanya irama dan melodi. Harmoni sebagai pelengkap dalam sebuah music. Jadi, tanpa harmoni, sebuah lagu pun dapat disajikan jika asalkan memenuhi unsure irama dan melodi. Seperti itulah gambaran irama dan melodi dalam sebuah lagu keduanya saling berpadu membentuk lagu. Keduanya merupakan unsure pokok atau yang dasar dari music. KOMPAS.com © 2008 – 2011

AMD Cari Anak Muda Berbakat Seni dan Desain

PRODUSEN sirkuit elektronik dan prosesor, AMD Indonesia, menggelar acara AMD Rising Stars untuk mencari anak muda yang berbakat dan kreatif.

''Melalui kampanye ini kami ingin menjaring anak muda berbakat dan merealisasikan impian mereka di bidang desain dan musik,'' papar National Sales Manager AMD Indonesia Heryanto Arif.

Melalui duta AMD, yaitu penyanyi Raisa Andriana, Sutradara Motion Graphics Sakti Marendra dan desainer Dian Pelangi, pihak AMD berharap program tersebut dapat menarik minat anak muda yang bertalenta di bidang desain dan musik, serta menginspirasi mereka dengan teknologi.

AMD akan melakukan roadshow Rising Stars di 30 universitas di Jakarta, Bandung, Yogyakarta, Semarang dan Surabaya pada 17 Oktober-4 Desember 2011.

Peminat berusia 19-29 tahun yang ingin mengembangkan bakat dan merealisasikan impian mereka dapat mengunjugi www.amdrisingstars.com dan mengunggah karya mereka dalam video di situs tersebut. Pemenang AMD Rising Stars akan diumumkan pada Januari 2012.

''Para pemenang akan mendapatkan hadiah berupa uang senilai US$10 ribu dan satu unit komputer yang didukung perangkat AMD,'' tambah Heryanto. (*/OL-14)

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