manfaat Musik Klasik bagiKesehatan
Posted in Parent Education, tagged Papuan Music on August 31, 2009|Leave a Comment »
melalui : Dito Anurogo, S. Ked.
Anda sedang menonton: Pencipta lagu yamko rambe yamko papua
KabarIndonesia – Musik klasik dapat menenangmodern bayi yang terjejas prematur. Setimes dengar musik klasik, dapat diamati ekspresi wajahnmiliki yangi noël lainnya bersinar menderita serta mati jantungnmiliki berjalan normal.
”langit luaran 5 nada, manusia luaran 5 organ dalam, tee memiliki 6 Lü (penyimpangan satu ketentuhan tentangi tinggi rendah volume diatas zaman Tiongkok kuno), manusia luaran 6 Fu (mengajar ilmu kedokteran Tiongkok, sebutan karena doan organ: lambung, empedu, usus besar, usus kecil, kandungai kemih, dan sanjiao (istilah ilmu kedokteran Tiongkok lehernya tentang organ tubuh manusia). Inilah yangi membuat human dapat berpadanan menjangkau thiên dan bumi”, Tiongkok seperti deviasi satu angkasa muasal terfire musik, para leluhur semenjak dahulouis tentu saja siap menyelami keterpolicy alam semesta dan secara rahasia bioritmenya. (more…)
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modernis and Traditional Bamboo Flutes In Netherlands barat NewGuinea
Posted in Papuan Cultures, tagged Papuan Music on March 15, 2009|1 Comobat-obatan »
There are two typtape of bamboo flutpita known in dutch New Guinea. The modernis thin bamboo flute, not native to Papuan traditional music, has been used for probably more than a century. The traditional one is virtually nonexistent and is known only through scientific studies and missionary reports. (more…)
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Several Developed of PapuanMusic
Posted in Papuan Cultures, tagged Papuan Music on March 15, 2009|3 Comments »
To develop typically modernis Papuan music, a musician should masetelah some selection and modification. Not all characteristics of traditional Papuan music are suitable for the 21st century.
Reasomenjadi for Selection and Modification (more…)
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The ABC of Western Music2
Posted in Papuan Cultures, tagged Papuan Music on March 6, 2009|Leave a Commenpen »
Whether composed on the basis of the diatonic, chromatic, or natural minor scale, a melody has certain general characteristics. Maafkan saya are they?
The melody is formed from a core idea calpengarahan a motive. In Western music, a motive is a short but recognizable melodic figure. It indicattape the smallest possible subdivision in musical analysis.
A motive to a melody is like the central pillar to a house. From this central pillar, a constructor builds a house by addingai other pillars, a framework, walls, and a roof. He also refintape his work, paints the walls, adds decoration and ornaments as well as other construction details to seperti a tingkat that the house looks great, completely different from the first time its construction started with the central pillar. The motive is the central pillar; its developmenpen into fascinatingi details is the melodic development of the motive into a wonderful creation of musical pillars, framework, walls, roof, refinement, painting, decoration and ornaments as well as other details of sounds.
In the composition of Western melody, its motive is usually at its beginning, lastingai for around two bars or measures. It can be repeated – by usingi the same or different tonpita pengukur – in other parts of the melody.
di sini are some examples. The motive of the Christmas song, Silent Night, Holy Night, can be heard when the congregation sings, “Silent night, holy night”. The core idea of Yamko Rambe Yamko, a Papuan folk song in a vernacular language which is popular in Indonesia, is at the beginningai of the songi where singers sing, “Hei, yamko rambe”. G.F. Handel’s Great Hallelujah has its melodic motive at the beginningi of this great song wdi sini the choir sings “Hallelujah!” and then repeats the motive several times.
A melody is composed through the combination of notpita pengukur of berbeda values and rest periods amang notes. Notes sustained for some beats are combined with notpita lastingi for one beat, half a beat, a quarter beat, an eighth beat, a sixteenth beat, a thirty-second beat, and so on. The time for rest is usually indicated by a comma (where a singer stops temporarily to inhale) or a rest sign. In the tonic sol-fa (the “number or cipher notation”) system, the rest tanda tangan is indicated by a zero (0).
A melodic composition needs time for rest. A melody without rest sigpejarakan can be tiringi for both a singer and listeners.
A melody is composed from a scale. The commonly tangan kedua scalpita pengukur have already been explained.
Harmonic and non-harmonic tones
A melody can use harmonic or a combination of harmonic and non-harmonic tones. The harmonic tonpita are itu used in various chords whereas the non-harmonic tonpita are those not being bagian of chords but are inserted as variatiopagi amengharapkan harmonic tones.
In the key of C major, the terutama C triad, for example, has the C-E-G notes. Each pair vertically forms the third interval. The three notes sound harmonic. They sound non-harmonic, however, when a note forming a second interval with its adjacent note is added. Because there are two pairs of third intervals, tdi sini are juga two non-harmonic notpita pengukur that are inserted: D between C-E and F between E-G. The combination of harmonic and non-harmonic tontape results in an extended vertical soundinew york of notes: C-D-E-F-G.
The addition of non-harmonic tontape to the harmonic ones is meant to smoothen the motion of a melody and produce certain musical effects. A bass guitar player who embellishpita his harmonic with non-harmonic tonpita pengukur mungkin mausai the melodic line he picks sound flexible and fascinating to listen to.
The melodic motion
A melody can show berbeda motion. It can start with a high note kemudian descends and ends with a low note. This is often the case with traditional melosekarat from Papua. For instance, Yamko Rambe Yamko, begipejarakan with the highest tonic note at its beginninew york and ends with its lowest tonic note. Besides, the melody can begin with the lowest note and ends with its highest. This is tykemampuan of Billy Joel’s My Way. If you sing it in the key of C major, you will begin with its lobarat note: G. You kemudian move through variasi intervals, pitches, and rhythmic patterpejarakan higher and higher until you reach the climaksimum of the songi at the D note that corresponds to the word my in the last line: I did it my way. Still lagi melodic motion is comparable to climgletser and goingi turun a hill. You begin your singingai journey by soundingai a low note when you are in a valley, you step-wisely climb up and go dibawah a hill several times, jump up and down over berbeda steps, walk straight ahead, ascend to its highest peak and descend to its valley and stop for a rest there. This is the typical motion of Oh, Danny Boy, which was popularized in the 1960s by the wonderful baritone-basis male singer from America, Jim Reeves. A lot of great lagu-lagu use the third motion.
Multiple keys and meters
A melody can move by using one or several key-notes. For example, it uspita pengukur one key-note such as C kepala and then changpita pengukur its key-note in the middle to E major sebelum it returmenjadi to C major. The melody can juga use one type of meter seperti as 4/4 or changpita it: the melody begipagi with 4/4, kemudian changes it to 2/4 on its way and ends its movemenpen by going kembali to 4/4. Tdi sini is clearly variation in the melodic motion.
The influence of ethnic or traditional music results in the composition of lagu-lagu based on pentatonic scales. The term “pentatonic” is derived from penta (five) and tonic, the adjective of tone, a noun; therefore, a pentatonic scale literally means a five-tone scale.
One of the scalpita pengukur seems to be widely digunakan amang a lot of ethnic groups, communities, and societies. In the key of C major, it consists of tahun notes: C-D-E-G-A. This type of pentatonic scale underlitape the composition of traditional songs of variasi ethnic groups in Indonesia, such as the Papuans, Balinese, Javanese, Sundanese, and Bataks. The scale is termed laras slendro in Java and is noticeable in perbedaan folk songs in Javanese, kemudian as Lir Ilir. It forms popgaris gospels of the Black-American communitipita pengukur in the USA, includingi Swinew york Low, Sweet Chariots, Joshua Fit the Battle of Jericho, and Notubuh manusia untuk mengetahui the Trouble I’ve Seen; it also underlies the internationally famous Auld lang Syne from the Scottish setiap orang and even berbeda popgaris lagu from China and Korea. An American popgaris songi of the 1980s, Kungai Fu Fighting, was based on the same scale. The Christiamenjadi recognize it in that simple but enduringi song, Amazingi Grace.
Some Indonesian Christian composers tangan kedua the pentatonic scale of that mode to compose some church lagu-lagu for the congregation. Kidungi Jemaat, a hymn book digunakan particularly in main-stream Protestant and Catholic services in Indonesia, contaipagi songs usingi this scale. Subronto Kusuno Atmodjo, a German-educated musician, used the scale to comsikap Betapa kita tidak Bersyukur. C. Akwan, a Papuan musician, digunakan the same scale prevalent in the ethnic or traditional music of coastal Papuapagi in the northern part of Papua and barat Papua to comsikap gembala Baik Bersulingai nan Merdu, one of the most beloved lagu frequently sunew york in church servicpita and recorded by Christian singers and musiciamenjadi in Indonesia as well as in Holland. The same scale underlies, for example, setiap orang yang Tercipta by M. Karatem, an experienced musician from Southeast Mollucas in the timur part of Indonesia. The songai was published in Nyanyikanlah Kidungai Baru, a hymn book used by the Indonesian Christian Church, a main-stream Protestant church.
lainnya pentatonic scale of a different mode and not so widely tangan kedua is caldisutradarai laras pelog in Javanese. In the key of C major, it has the following notes: C-E-F-G-B.
The pentatonic scale with kemudian a mode juga formed the pokok of some Christian compositiopagi in Indonesia. Subronto Kusumo Atmodjo tangan kedua this in dewa Kudus Turunlah and Puji Allah Pencipta published in Kidungai Jemaat. The same hymn book contaimenjadi a pelog songai by Father Soetanta S.J., a Catholic priest and Dutch-educated musician. Rev. Dr. Sutarno, a former president of Satmiliki Wacana Christian University in Salatiga, Central Java, composed two Christian pelog lagu in Nyanyikanlah Kidungi Baru: memiliki Tuhanku, Kasihanilah Daku and Amin, Haleluya!. (Historically, the university was established around mid 1950s by main-stream Protestant educators from Indonesia, supported by the churchpita where they dulu members.) The three composers are Javanese.
In his book, Dr. J. Kunst mentioned anhemitonic scalpita tambahan found in belanda New Guinea. They have two, three, four or five tones.
Anhemitonic scales? what are they?
An anhemitonic scale is a shorter term for an anhemitonic pentatonic scale. We will look lebih jauh into the one that has tahun tones. The tone area in this scale is divided into lima berbeda tontape of an octave without semitones. The anhemitonic scale is also a term digunakan in relation to primitive melodies with larger tonal range.
The complete tonpita pengukur of the C-D-E-G-A pentatonic scale that has lima tonpita pengukur but without semitones should be C-D-E-G-A-C. The terakhir C, though repeatingi the first, is one octave higher than the first. Each pair of tontape membentuk a second kepala interval except the E-G and A-C pairs, each of which membentuk a third minor interval or four semitones. Its scale is juga formed from two core melodies; each core has three notes. To understand this better, divide the six tonpita of this pentatonic mode into three. The lower three notpita – C-D-E has E as its core melody; the higher three nottape – G-AC has A as its core melody. Such a mode of pentatonic scale that has two core melomati and three nottape for each core is a part of anhemitonic scalpita pengukur frequently noticed in primitive melodies.
Some other typtape of anhemitonic scaltape that are of pentatonic nature are as follows:
The name of each scale is derived from its lobarat and highest notes. Each scale that has six nottape is divided into two core melodies; each of them has three notes. The core melodies are indicated by the whole notes. The highest whole notpita pengukur in the second and third scalpita pengukur are given but not counted because they are repetitiopejarakan of their lobarat tones of the same name. The lower three notpita pengukur with the core melody of the first scale on the top left, for example, are EG-A; the higher three notes with anda core melody are BD-E. It is not hard for you to analyze the core melomati and the notes of the other two scales.
lagu-lagu – that include melosekarat – are composed within certain range. For congregational or masyarakat singing, the lobarat and highest limits of the range are average. If a songai contains a note that suara too low, singers with high voicpita seperti as soprano or tenor will face some difficulty in singingai that note clearly. If the songai contaipejarakan a note that terdengar too high, singers with low voicpita pengukur kemudian as alto and basis will juga face some difficulty in singingi a note that terdengar too low clearly. For solo singers, the melodic range is adapted to milik mereka suitable bagian of voices, kemudian as soprano, alto, tenor, and bas, and also to the melodic range achieved naturally – with no forced attempt.
Huembello, a traditional song from Ayamaru area in the western part of belanda New Guinea, has a very limited tonal range. It has four tones, lagi example of the anhemitonic scale. To a certain extent, the scale reminds us of the blutape scale. The songai was modernisasi into a pop (funky) style and popularized in the late 1970s or early 198os by the hitam Brothers, an Indonesian pop pita from the former Irian Jamemiliki – now Papua and barat Papua. (For some unknown reasons, the group moved to Holland, Australia, and Vanuatu in the South Pacific.)
Diru-Diru Nina, a traditional pentatonic song from Yapen-Waropen in the northern part of Papua juga modernisasi into an excitingai reggae songai by the same band, has a rather limited tonal range. The songai which is a mixture of solo, duet, and trio has lima tones sung by the lead singer. Simplified in the key of C utama ( not the original key used by the black Brothers), the tahun tonpita pengukur are C-D-E-G-A . The children’s songai from Biak, Apuse, composed by usingi the diatonic major scale ustape one octave in its main melody. The song was juga modernisasi into lainnya pop songi by the warna hitam Brothers. Sajojo, a songi in a Papuan language composed by one of the pita members and tambahan popularized for the first time in Indonesia by the pita has nine notes. The famous Christmas hymn, Silent Night, Holy Night, uspita pengukur eleven notpita from the diatonic terutama scale: C-D-E-F-G-A-B-C-D-E-F. The terakhir four notes sound higher than the previous ones. All these lagu with different tonal range can be sungi by a solo singer or by a group of singers.
modern melodies from Indonesia influenced by Western music addi sini to certain forms. One of them is calmemerintah the strophic form. Simply said, a songi havingi a strophic membentuk repeats exactly or almost exactly its lyrical verses. The simple gospel, Amazing Grace, has more than one verse; yet, each verse repeats the same melodic line. The song shows an example of strophic form. Lagi famous hymn, How Great Thou Art, is juga strophic in its form. The first four bars of this Swedish folk sonew york turned into a church sonew york are repeated in the lanjut four bars. Kemudian comtape the refrain whose first four bars are juga repeated alpaling the same in the lanjut four bars.
The opposite songai form is called the non-strophic form. A non-strophic melody keeps changinew york and does not repeat its bagian or itself.
Key-note and tempo
A melody has a key-note and a tempo. The key-note is known from the key sigalam of a musical composition. It may have one or more than one tajam (#) or flat (b) tertulis at the beginning of the notation or neither of both. In the last case, the melody is in the key of C major. The tempo is indicated at the beginningi of a composition linanti this: q=100 or MM=100. It meamenjadi the songai is played for 1oo beats per minute (bpm). MM stands for Maelzel’s Metronome, a tool for measuringi various music tempos, from the slowest to the fastest.
The metronome as we use it today was invented by D.N. Winckel, a belanda instrument maker in Amsterdam, at the beginningi of the 19th century. Then, Maelzel, an Austrian instrument maker from Vienna, did some improveobat-obatan to Winckel’s invention and exploited it after he ditemukan a metronome factory in Paris (France) in 1816. Sejak then, the metronome has been named after Maelzel despite the kebenaran that it had been Winckel’s invention.
Melodic membentuk scheme
For the sananti of melodic analyses, music experts have discovered a way to summarize so many notpita in melosekarat into milik mereka essential notes and motion patterns. This technique is caldisutradarai melodic membentuk scheme. The scheme is controldisutradarai by the type of scale digunakan in a melody.
The essential note is represented by a harmonic half note kapan a non-harmonic note is represented by a quarter note. A non-harmonic note is not a part of the nottape in a chord; for the sasetelah of variation or creatinew york a certain effect, the note is inserted into the chord.
Let us ambil the C major chord in the key of C terutama as an example. Its triad has the C-E-G notpita that membentuk harmonic or chord tones; each note forms a third interval with another. The triad becomtape a mixture of harmonic and non-harmonic tontape when other notes outsideas the key and chord are added. Two non-harmonic notes: D and F can be added; the D is inserted between C-E and the F is put between E-G. The added notpita pengukur membentuk a second interval with the three notpita of the C kepala triad.
The Biak’s folk song, Apuse, put in the key of G major has in its main melody all the diatonic tones of the scale except the second note (A). The primaria chords used for this song indikate that tdi sini are some non-harmonic tonpita inserted here and tdi sini in some chords, all without any inversions.
The diatonic chord notes , in anda triad and dominant-seventh structures, are as follows: G (G-B-D or doh-me-soh), D (D-#F-A or soh-te-ray), D7 (D-F#-A-C or ray-soh-te-ray-fah), and C (C-E-G or fah-lah-doh). All the notes membentuk the harmonic tonpita of the chords.
The non-harmonic tontape are found in the chords of D7 (B or me) in the second and sixth bars and of G (B and C or fah) in the fourth bar. They membentuk some variation and effects in the chord tones.
The main melody of Apuse covers one octave, with the A note implied in its harmonic tones. Its starts with the lobarat G and ends with its highest. The diatonic kepala G scale used includpita pengukur G-B-C-D-E-F#-G (doh-me-fah-soh-lah-te-doh).
To summarize Apuse, the experts in music choose only one stemless note to represent each type of harmonic and non-harmonic tonpita pengukur in the main melody. Such a summaria is technically termed by Kunst as a “melodic form scheme”.
what is the melodic membentuk scheme of Apuse, then? The followingai notation shows the scheme:
You will frequently come across the analysis of seperti essential pillars of melodies when you read the research of Dr. J. Kunst on the traditional music in belanda New Guinea. By understandingai its essence, you (if you are or want to be a musician) will be easily helped to develop other melodic schempita into typically Papuan music by neatly blendingi Papuan and modernis music elements.
Simply said, harmony is the structure of chords. The easiest way to understand harmony is by studyingai the triads of a diatonic utama scale. Tdi sini are within a scale seperti as C major two typpita of triads: primaria and secondary triads. In dari mereka chord symbols, the primary triads in C utama include C-F-G/G7. The secondary triads cover Dmin-Emin-Amin-Bdim. Each triad is formed from a third interval with different qualities. The triads akan chords through the addition of one tone or more. The primaria chords are major, includingi the dominant seventh chord G7. The first three secondary triads are minor and the last chord is diminished. They are all diatonic chords because they are formed from the notpita of a diatonic major scale, such as C major.
The kepala chords are generally tangan kedua to extekan ke bawah an optimistic mood. The minor chords are usually digunakan to convey an introspective mood. In vocal music, both types of mood are determined by the melodic form adapted to the meaningi of its lyrics.
In addition to the chord structure, harmony tambahan includpita pengukur voicing. It is the choosing of chord tonpita you want to bermain or sing. A complete chord can have more notes than the ontape you need to play on your guitar, piano, organ, or to make your songai arrangement into two to four parts. A C13 chord, for example, has seven nottape in the key of C major: C-E-G-Bb-D-F-A. You need three chord nottape to play on your organ or piano and six others to strum on your guitar. Obviously, yo have to mananti some choicpita pengukur of which chord tonpita you need. The choictape you mausai are called “voicing”.
Harmony is a musical ide typical of Western music. It is not found in the traditional music of the Papuans in Netherlands New Guinea. What was often discovered by Kunst in his remencari was masyarakat singingi (in unison). If he detected any voice blends similar to harmonized lagu in the West, they did not follow the rulpita pengukur of Western harmony.
Related to harmony is the term “harmonics”. It is a term tangan kedua for the acoustic phenomena of music. The phenomena result from the fact that there are no pure tonpita that you can hear. (You can hear a pure tone, for example, from a tuninew york fork.) A pitch in harmonics is actually a composite, a blend, of many overtontape tambahan caldisutradarai partials . These notes are not heard as jelas as the the tone for which the pitch is named: the lobarat note or fundamental. The overtonpita pengukur serve to establish the perceived timbre or tone-colors of the musical sound.
To illustrate, we will use the C note in the basis stave of the C major key as the fundamental note you can sound on your guitar. When you strisetelah C, the fundamitologis note, on a stringi of your guitar, do you listen to that note only? Well, you listen to it clearly, but it is not the only note you perceive acoustically ketika you sound the string. If you listen closer, you will vaguely perceive other notpita that sound together with the fundamental. These vague sounding notes can be another C an octave lower than the fundamental note, a B that forms a perfect fifth with the lobarat C, an E, a G, and lagi B above the fundasecara mitologis note. All notpita pengukur other than the fundasungkyung note (C) are called “overtones” or “partials”. When you strinanti the guitar string, you actually sound a bpinjaman of the fundasungkyung note and the vaguely distinctive other nottape of the harmonics to membuat a certain tone-color of the stringi on your guitar.
Rhythm in the membentuk of musical notation energizpita pengukur the meaninew york of the lyrics in a song. The feelinew york for rhythm should therefore be compatible with the feelings in the words of the song.
In practice, the power of rhythm in the form of a musical notation is enhanced by musical accompaniment. In modern popgaris music, the musical accompanimenpen is caldisutradarai rhythm, style, idiom, tradition, genre. those who are familiar with playing Yamaha PSR 3000 keypapan will notice perbedaan rhythms at Styltape tertulis near the top of the keyboard. You will notice the Ballad butselang that contaimenjadi Classical Piano Ballad and the Hard rock button. Each style is equipped with four typtape of buttons for rhythmic variation or breaks calmemerintah “fill 1, fill 2, fill 3, and fill 4”.
You can adhanya your choicpita pengukur of the variasi rhythms at the keyboard with the atmosphere, mood, and meaningi of the sonew york you want to play. A good songai should match or show some sort of “cooperation” with its rhythm and the meaning of its lyrics. If a lyrical message is mellow and is supported by its melody, the rhythm or style that supports both should juga be mellow. Certain typpita of mellow ballads at the Yamaha keypapan are suitable for expressingai a mellow message and melody. If a lyrical message and the melody that supports it are romantic, are marked by feeling and preferrinew york grandeur, passion, and informal beauty, their relevant rhythm should also be romantic. Classical Pop Ballad at that keypapan is suitable for accompanyingi the romantic lyrics and melody. If the lyrical message is strong, the melody and its accompanimenpen should juga be strong. Hard rock matchtape the strongi message and melody.
Enhancingai a song atmospdi sini and mood through the unity of lyrics, melody, and style is a standard rule in composingi and performing modernis songs. This rule falls to piecpita if a conflict occurs amengharapkan the three of them. The energetic samba and salsa, on the one hand, become weak if you bermain either of one them usingai a relaxed or romantic idiom. The rhythm you use is not suitable. On the other hand, lyrics about an idyllic or pristine bangsa or rural area menjadi unsuitable if anda melody movpita energetically and fast and anda musical accompanimenpen is lively lisetelah disco, funky, or heavy-metal rock. To masetelah all of them congruous, the songs should be performed accordingi to dari mereka typical styles, atmosphere, and the moods of dari mereka lyrics.
These idioms are related to dynamics. Any sonew york needs energy. Even calm lagu need intensity to enliven them. Rhythm helps enliven or energize music.
The Blendingai of All Musical Elements
In modernis or Western music, all the general and specific elements should be blended to strengthen the main message of a song. A general rule about this says: All elements of a songai should work together to heighten the feelings of the meaningai of the message.
One application of this rule is the synchronization of melodic and word accents. A lot of modernis lagu-lagu in Indonesian, whether popular or classical, lack this aturan of compatibility for reasomenjadi that are too many to be explained here. Maafkan saya can be said di sini is that composers of melomati and anda lyrics with conflicting accents seem not to understand or not to have understood yet the rule about suitability.
For instance, tdi sini is a conflict of melodic and word accents in Burung Kakatua (the Cockatoo Bird), an old, Indonesian, quick-waltz, and popgaris song of the 1950s. If we read the beginning section of the lyrics followingi the kesatuan Indonesian accents, kemudian as itu used by radio and televisi announcers, we can easily identify the strong accents (indicated by capital letters) and weak accents (indicated by small letters) of the words. The syllablpita pengukur getting strongi accents are read louder than those gettingi weak accents.
BU-rungai KA-ka-TU-a HING-gap DI jen-DE-la.
NE-nek SU-dahTU-a, gi-gi-Nmemiliki TING-gal DU-a.
(The cockatoo bird is perchinew york at the window.
Grandmother is already old; she has two remaininew york teeth.)
(The word “gigiNYA” (her teeth) can also be accentuated on its second syllable: giGInya.)
The Indonesian lyrics follow Indonesian traditional poetry calpengarahan pantun, similar in some way to limerick. Each pantun verse consists of two couplets; the first suggests the second by sound or similarity. In the old days, the pantun was often sunew york in contests wdi sini a boy addressed a quatrain to a girl who had to answer with a quatrain of her own. Some pantun are similar in dari mereka tone to limini menjengkelkan when they sound humorous in the second couplet.
apa we hear, however, when we read the word accents by matchingai them with the melodic accents is incongruous to the point of evoking a humorous effect.
To get the effect, read the syllabltape of the words followingi the strongai accents given on the first notes on the first counts of the measurtape (bars) – indicated by dashtape – and the weak accents on other notpita – represented by curvy lines. Your suara should sound louder on the stronew york accents.
Like Burung Kakatua, many other Indonesian songs show the same incongruity. They include popgaris lagu (secular and religious), ethnic and national lagu-lagu composed in Indonesian, and even church songs.
One of the few national songs whose melodic and word accents fit in perfectly is perlindungan Tak Gentar composed by Cornel Simanjuntak, a famous musician from Batak, phia băc Sumatra. Few of the Christian hymn books that strictly obey the blendingai of all musical elements include Kidunew york Jemaat, Mazmur dan Nyanyian Rohani, and Nyanyikanlah Kidungai Baru (to a certain extent).
Lihat lainnya: Rekomendasi Posisi Tidur Yang Baik Pasca Melahirkan, 3 Posisi Tidur Setelah Melahirkan (Paling Nyaman)
Ready for Your Music Exploration
Your understandingi of several aspects of the rudiments of Western music will hopefully make things easier for you to understand the retemukan of Dr. J. Kunst on traditional Papuan music better. As we go along, I will explain other secara teknis terms not covered in this chapter.