Hasil Pencarian  ::  Simpan CSV :: Kembali

"Orkes Simfoni Jakarta merupakan kelompok musik klasik yang dibentuk pada tahun 1966, pada masa kepemimpinan Gubernur Ali Sadikin. OSJ merupakan aset bagi kota Jakarta yang dianggap sebagai kota metropolitan dunia. Tidak hanya memberikan wawasan baru melalui musik klasik, OSJ juga menampilkan lagu nasional dan lagu daerah dengan gaya berbeda serta berkualitas. Orkes Simfoni Jakarta mengalami penurunan eksistensi sejak memasuki awal tahun 2000-an.

---

Orkes Simfoni Jakarta is a classical music group formed in 1966, during the leadership of Governor Ali Sadikin. OSJ is an asset for the city is considered a world metropolis. Not only provide new insights through classical music, OSJ also featured national songs and folk songs with different styles and quality. Orkes Simfoni Jakarta decreased existence since the early part of the 2000s."

"Tesis ini membahas orkes dangdut gerobak yang seringkali diasosiasikan dengan kalangan kelas bawah dan tindakan pelecehan seksual, erotisme, dan kriminalitas. Konstruksi pemaknaan negatif tersebut dimunculkan melalui narasi yang dibangun oleh media mainstream, yakni film dan media massa. Bermula dari konstruksi pemaknaan terhadap musik dangdut yang dipandang sebagai musik kelas bawah, hingga praktek konser langsung orkes dangdut yang ditampilkan oleh biduan dangdut yang cenderung menonjolkan beberapa anggota tubuhnya. Atributisasi sebagai pengamen juga membuat kelompok ini dilarang eksis di ruang publik. Dengan berbagai argumentasi dan kreativitas, Uca dan kelompok orkes dangdut gerobak Pelangi sedang bernegosiasi dengan aparat pemerintah daerah agar mereka tetap eksis di ruang publik untuk mencari nafkah dengan cara menolak atributisasi sebagai pengamen. Mereka juga membuat karya untuk menegaskan bahwa mereka ingin disebut sebagai musisi dari pada sebagai pengamen. Kontestasi identitas antara personel orkes dangdut gerobak dengan pihak pemerintah juga terjadi di ruang urban Jakarta. Ada praktek kepengaturan yang dilakukan oleh aparat pemerintah kepada kelompok orkes dangdut gerobak, namun praktek kepengaturan tersebut ternyata berjalan secara lentur, penuh dengan proses negosiasi dan tidak represif, Data diperoleh dengan pendekatan etnografi (field study) termasuk in-depth interview di Baladewa, Tanah Tinggi, Jakarta Pusat dari bulan April 2016 sampai dengan Mei 2017. Hasil penelitian ini menunjukkan bahwa narasi yang dikonstruksi oleh media mainstream cenderung berbeda dengan narasi yang dibangun oleh orkes dangdut gerobak yang dalam hal ini diwakili oleh Uca dan personelnya. Orkes dangdut gerobak memunculkan narasi moralitas disaat media mengonstruksinya dengan narasi kriminalitas dan seksualitas. Relasi kuasa antara orkes dangdut gerobak dengan pihak pemerintah juga cenderung lentur, kelompok tersebut dilarang oleh Peraturan Daerah identitasnya dianggap sebagai pengamen, sedangkan pada prakteknya pihak aparat pemerintah masih mempunyai simpati dan empati terhadap kelompok orkes dangdut gerobak.

---

This thesis discusses the dangdut gerobak orchestra which is often associated with the lower class and acts of sexual harassment, eroticism, and crime. The construction of negative meaning is raised through narratives built by the mainstream media, namely films and mass media. Starting from the construction of meaning for dangdut music which is seen as low-class music, to the practice of live concerts by dangdut orchestras performed by dangdut singers who tend to highlight some of their body parts. Attributing as buskers also makes this group prohibited from existing in public spaces. Using various arguments and creativity, Uca and the Pelangi dangdut orchestra group are negotiating with local government officials so that they can continue to exist in public spaces to earn a living by rejecting the attributes of buskers. They also create works to emphasize that they want to be called musicians rather than buskers. Identity contestation between the personnel of the dangdut gerobak orchestra and the government also occurs in the urban space of Jakarta. There is a regulatory practice carried out by government officials against the dangdut gerobak orchestra group, but this regulatory practice turns out to be flexible, full of negotiation processes and not repressive. The data were obtained using an ethnographic approach (field study) including in-depth interviews in Baladewa, Tanah Tinggi, Central Jakarta from April 2016 until May 2017. The results of this study indicate that the narrative constructed by the mainstream media tends to be different from the narrative constructed by the dangdut gerobak orchestra, which in this case is represented by Uca and its personnel. The dangdut gerobak orchestra creates a narrative of morality when the media constructs it with a narrative of crime and sexuality. The power relationship between the dangdut gerobak orchestra and the government also tends to be flexible, the group is prohibited by regional regulations from being considered a busker, while in practice government officials still have sympathy and empathy for the dangdut gerobak orchestra group."

"ABSTRAKAbstrak Diaspora Arab di Indonesia membuat suatu peradaban dengan menyebarkan agama Islam melalui kesenian musik gambus yang telah menjadi tradisi orang Arab. Tujuan peradaban ini adalah agar orang-orang Arab di Indonesia bisa dihargai dan memiliki tempat tinggal di Indonesia. Agar bisa diterima oleh orang Indonesia, mereka mempelajari kesenian tradisi Indonesia, sehingga mereka mengolaborasi musik gambus Arab dengan tradisi kesenian Indonesia sehingga beradaptasi dengan tradisi Indonesia dan menghasilkan ciri khas gambus melayu. Tulisan ini membahas bagaimana sejarah orkes musik gambus yang dulu seperti apa. Orkes musik gambus mengalami perkembangan sampai saat ini mereka terus mengikuti perkembangan genre-genre baru agar tetap mempertahankan eksistensinya. Pemain musik gambus memiliki strategi tersendiri untuk bersaing dengan musik modern dan mampu berkolaborasi dengan musik-musik modern. Musik gambus memiliki manfaat yang luar biasa bagi penikmat musik gambus dan pemusiknya. Saat ini orang-orang yang hobi dengan musik gambus terus bertambah. Tulisan ini juga membahas bagaimana perbedaan orkes gambus di Cirebon dan orkes gambus di Jakarta.

---

ABSTRACT Abstract Arabic diaspora in Indonesia made a civilization by spreading the religion of Islam through the art of gambus music that has become a tradition of Arabic. The purpose of this civilization is that the Arabs in Indonesia can be appreciated and have a place to live in Indonesia. In order to be accepted by Indonesians, they learn Indonesian traditional arts, so that they collaborated the music of Arabian gambus with Indonesian art traditions so that they adapt to Indonesian tradition and produce Malay gambus characteristic. This paper discusses how the history of the orchestra of a gambus music was what it once was. The orchestra of gambus music has grown to date they continue to follow the development of new genres in order to maintain its existence. The gambus music player has its own strategy to compete with modern music and able to collaborate with modern music. Gambus music has tremendous benefits for music lovers of gambus and musicians. Nowadays people who like the hobby of gambus music continue to grow. This paper also discusses how the difference between the gambus orchestra in Cirebon and the gambus orchestra in Jakarta."

"ABSTRAKProgram Pelatihan Team Building ini dilalcukan pada anggota OrkestraSimfoni Klasik X guna menciptakan kekohesifan di antara para anggota Orkestra SimfoniKlasik X, mengingat hal ini masih bclum berkembang dengan baik dalam OrkcstraSimfoni Klasik X. Kekohesiiin ini kumng berkembang karena beberapa hal, antara lainkumngnya kesempatan berkomunikasi antam sesama pemain dan pemain dengan pihakmanajemen serta sebagian anggota yang tidak memprioritaskan kepentingan OrkestraSimfoni Klasik X. Melalui peiatihan team building diharapkan kekohesiiim dapat lebihterbina dengam baik pada anggota Orkestra Simfoni klasik X. Dengan berbekalkekohmifim yang dihampkan dapat dicapai mclalui pelatihan team building, malcaselayaknya kinerja pertunjukan Orkestra Simfoni Klasik X akan lebih optimal.Kendala-kendala yang dihadapi mahasiswa adalah; terbatasnya jumlah Iiteratur ilrniahmengenai Orkestra Simfoni Klasik, mcnyampaikan informasi yang mernerlukanpemahaman mengenai musik klasik dan Orkestra Simfoni Klasik kepada pembaca yangpada umumnya tidak secara khusus memiliki latar belakang musik klasik dan OrkesuaSimfoni Klasik, dan rnerangkum informasi yang diperoleh mcnjadi suatu gagasan baru.

---

ABSTRACTThe focus of this training design is the members of Classical Symphony Orchestra X. Theteam building training is designed to promote the cohesivencss among the members ofClassical Symphony Orchestra X, regarding the cohesiveness within the orchestra has notbeen well developed. The cohesiveness has not been well developed due some problemswithin the orchestra such as the lack of the chance to communicate among players andamong the players and the management. Another problem is some members do notpercept their role in the orchestra as the top priority. The cohesiveness is expected to bedeveloped by conducting the team building training. In turn, the cohesiveness among themembers of Classical Symphony Orchestra X is expected to lead to the betterperformance quality of Classical Symphony Orchestra X.During the writing ofthe Training Program Design, the writer found that there are somemain problems in writing process of the Training Program Design, such as: limitedsources of scientific literatures about Classical Symphony Orchestra, explaininginformations about classical music and Classical Symphony Orchestra to the readers whopossess no specific knowledge about classical music and Classical Symphony Orchestra,and synthesizing the acquired informations into new innovative ideas.

---

"

"Yogyakarta is wedely known as a city of culture since a substantial number of cultural and historical heritages are found in this city. Artistic activities kept flourishing since the pre - independent era to the present time. Keroncong is one of the various genres of music that continue to exist in and around this city...."

"This research takes a serial drama entitled Orkes Madun (OM-I-IV) written by Arifin C Noer, which consists of four plays as its corpus. They are:Madekur dan Tarkeni atawa Orkes Madun Bagian Satu (OM-I, 1973); II Orkes Madun 2A/Umang-Umang (OM-II,1976); III Orkes Madun IIB atawa Sandek Pemuda Pekerja (OM-III, 1979); and IV Ozone atawa Orkes Madun IV (OM-IV, 1989). There are two main aspects of text, they are dramatic text and performance text. There are four important elements in every structure of the dramatic text, namely dramatic shape, character, dialogue, and stage directions (Aston, 1991).The aim of this research is: 1. To find out the characteristic of the dramatic text structure, especially its character element and characterization, as well as its plot of OM-I-IV; 2. To reveal the theme and its message of OM-I-IV; and 3. To unravel the thread which unites those four plays or a single long play (OM-I-IV). This research is a qualitative research using a structural and semiotic approach. There are three steps to reach the goal. First, analyzing textually the structure of the dramatic text OMI-IV, especially the characteristic of its characters and plot. Second, analyzing semiotically the sign-system of the character and plot, especially to reveal the meaning of the message as well as its characters. Third, analyzing by using the inter-textual approach to find out the difference and the likeness of those four plays, and also to unravel the thread, which unites them. The conclusion as the outcome of this research can be drawn as follows: 1.1 The dramatic text of OM-I-IV can be classified as a radical dramatic text, tragicomedy drama, drama of idea, or symbolical drama. 1.2 WASKA (WK) as the central character, is able to develop a dramatic plot, so that, he can play the role as the thread that unites those four plays in OM-I-IV. 1.3 The character of SEMAR (SM) has a doubled role, (a) as a director of the performance of OM-I-IV which is performed by KS-RBD; (b) as the leader of KSRBD; (c) as the central character of WK to the whole plays of OM-I-IV; (d) as the narrator, authoritative source, guide, commentator, and evaluator. 1.4 The structure of every play in a serial performance of OM-I-IV is in the structure of every play in OM-I-IV, or theatre in theatre (mise en abyme). It means that the serial play of OM-I-IV directed by SM is performed in the serial play of OM-I-IV1.5 There are three main plots in OM-I-IV; they are NB plot, BD/SM plot, and WK plot.1.6 There are four core plots; they are MAD plot, WK-II plot, SD plot, and WK- IV plot. These four core plots are in the frame of the main plot WK.1.7 The plot characteristic of OM-I IV is loose, double or layers, and progressive linear with variation. The technical plot is flash back and back tracking.2.1 The central theme of OM-I-IV is poverty while the message talks about the ways to fight against and come out from poverty and hardship. 2.2 The meaning of theme and message conveyed in OM-I-IV is to fight against poverty and hardship by (a) picpocketing or prostituting oneself (OM-1); (b) universal robbing; (c) demanding freedom of speech to be heard by others, striking of silence, eat, and work, also, universal striking (OM-III); and (d) doing trial in many ways to die for the impotence to bear suffering in holding punishment to live in world (OM-IV) in the serial drama of OM-I-IV that, apparently, can not solve the emerged problem. 2.3 The punishment to live beyond human's common sense, capability, and God's will is proved much horrifying to feel and go through rather than the most terrible punishment to die in the universe. 2.4 The destruction of human culture and civilization in the world, sea, and sky, including the ozone holes, is brought by human's misbehavior, mistake, and hard sins. Furthermore, as the balance for such human's mistakes and sins, he fulfils his cultural duty for its solution. There are some urgent examples as shown follows (a) cleaning up the world, sea, sky, and human himself; (b) assisting the mission pioneered by SD in the end of OM-III, and continued by SDM (the next, new generation) with his effort to eliminate all what make the mistakes and sins happened, including the wrong framing system firstly made. If necessary, the old system may be replaced and reformed to be a new, fresh, appropriate system as the current time demands. The new era. The Reformation era. 3.0 The threads which unities these four plays in OM-I-IV are: 3.1 the poverty as the central theme; 3.2 WK who serves as the central character; 3.3 SM who serves as the director of performed theatre in the play of OM-I-IV, and 3.4 the three main plots are the plots of NB, BD or SM, and WK."