Umilia Rokhani, H. Haryanto
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引用次数: 2

摘要

利用转型媒介进行作品创作成为艺术行业研究的一个令人兴奋的突破。使用改变媒体的概念,两种不同的媒体,如艺术和音乐的相遇,为更广泛的创造性工作的出现提供了机会。以蜡染为媒介的灵感和哲学为基础的音乐作品设计,作为印尼祖先的伟大作品,具有复杂性和美感,具有很高的价值。Sekar Jagad是音乐设计作品的名称,取自爪哇文化中非常熟悉的蜡染图案的名称。通过对gringsing, kawung, machete, nitik, cement和poleng等蜡染基本主题的理解,以两种不同的声音演奏的声乐旋律元素概述了Sekar Jagad蜡染主题的概念。它确实需要蜡染图案本身的形状,功能和特征的知识,作为音乐艺术中性别的基础。旋律安排完全由两个调音或佩洛格和斯连德罗音阶组成。它的目的是找到最适合蜡染的特点和哲学的人物。蜡染图案的元素被组合成一个Sekar Jagad蜡染图案,然后通过声乐旋律应用,并辅以描述这些蜡染元素的歌词。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Rancangan Garap Karya Gending Sekar Jagad Berbasis Motif Batik Gaya Yogyakarta
The creation of works employing transforming media becomes an exciting breakthrough in the art industry to study. Using the concept of changing the media, the meeting of the two different media, such as art and music, provides opportunities for the emergence of a broader range of creative work. The design of musical works based on the inspiration and philosophy from the media of batik has complexity and beauty and high value as the great works from the Indonesian ancestors. Sekar Jagad is a title for the composition of musical design, taken from the name of a batik motif that is very familiar in Javanese culture. By understanding the basic batik motifs such as gringsing, kawung, machete, nitik, cement and poleng, the elements of vocal melodies performed in two different voices gave an overview of the concept of the Sekar Jagad batik motif. It indeed required knowledge of the shape, function and character of the batik motif itself as the basis for gending in musical arts. The melody arrangement was made entirely with two tunings or pelog and slendro scales. It was intended to find the characters that best suits the characteristics and philosophy of batik. The elements of batik motifs that were put together into one Sekar Jagad batik motif were then applied through vocal melodies and supported by lyrics that described some of these batik elements.
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