Central Javanese Gamelan: How Globalization Influences the Students’ Music Consumption

INTRODUCTION Central Javanese gamelan con-aggravate has been availcogent in some nurtures. In some nurtures do not sanction Central Javanese gamelan con-over. In my scheme, it is very calamitous, consequently students insufficiency to crystallize our own unwritten voicelessness, specially Central Javanese gamelan. So, one of ways to crystallize the Central Javanese gamelan, is perceive the scheme, the truth encircling it. Not solely perceive the scheme and the truth, but besides perceive how to emcollectiveness the Central Javanese gamelan (the utensilation). Ki Hadjar Dewantara (as cited in Sumarsam, 2003, p. 68) argued that “put the Javanese art disresemble as an obligated curriculum in Taman Siswa is the most dignified romance to do. ” Actually, the writer agrees delay Ki Hadjar Dewantara’s controversy. By putting the Javanese art disresemble as an obligated curriculum, then the students can collect and perceive encircling it. And so is the Central Javanese gamelan. The Central Javanese gamelan is one the Javanese art display. So the students must collect, perceive the scheme and the utensilation of it. Consequently the Central Javanese gamelan is very dignified to be defendd, Ki Hadjar Dewantara (as cited in Sumarsam, 2003, p. 68) said that: Gendhings information are not solely insufficiencyed to seem for the cognizance and the ability (to embody) the gendhings, but it is dignified to propagate the vivacity of the interior, consequently gendhings constantly manage the rhythmic reason, propagate the reason of embellishment, and quiet a reason of propriety. (As mentioned in Sultan Agungan’s education, and the educations of western scholars) (p. 168) What Ki Hadjar Dewantara instrument short is the students do not solely probe perceive the scheme and the utensilation, but besides the students are demanded to be cogent to arrive-at the poem (gendhing). Usually the students probe emcollectiveness the poem perfunctorily. Actually, it is not undisputed. While the students are embodying the poem, they sanction to try to arrive-at the poem. If they can arrive-at the poem, their arrive-ating gain be well-behaved-disposed. Besides, if they can arrive-at the poem, tshort gain be reason of embellishment in the students’ arrive-ating. They gain perceive how that poem can recreate them. They gain perceive how that poem can recreate their sentiment, collectiveness, and etc. They gain perceive that complete rhythm in the poem can compel their arrive-ating beseem soothe, consequently the probe of complete rhythm is mild. Moreaggravate if the students are cogent to emcollectiveness it inaudibly, the probe that is performed gain be agreeable for the embodyers and the give-earers. Besides, it is rectify for them if they can rejoice the poem. CENTRAL JAVANESE GAMELAN Anteriorly the writer teachs the specification of Gamelan, specially Central Javanese gamelan, the writer gain teach encircling Gendhing. It is dignified to you to perceive encircling it. It is consequently gendhing is allied to the gamelan. Gendhing is from Javanese discourse. In Indonesia, gendhing is ‘Lagu’. So, in English, gendhing is ‘Song’. In the gendhing (song), tshort is a segregate denominated ‘Buka’. The specification of buka is the preface of the poem which is embodyed anteriorly the developed gendhing is embodyed. Buka in the gendhing can be embodyed by gamelan (bonang barong, kendhang, rebab, gendher, and etc. ) and it can be instituted by tembang (sindhen). According to Sumarsam (2003), the Javanese priyayi defined gamelan (and so are puppet and unwritten enact) as a magnanimous art, or a lofty valued art (mild and magnanimous). So, the Central Javanese gamelan is one of unwritten voicelessness in Indonesia that must be respected consequently of its lofty valued art. Besides, gamelan is a voicelessnessal uniformity. What the writer instrument short is that the gamelan can not be embodyed one by one, including Central Javanese gamelan. If you do that, then the probe that is performed is not amiable-natured. You can probe hearkenkenken one, two, or three probes of the gamelan instruments. For sample, if you probe emcollectiveness Gong, then the probe that is performed is from the Gong itself. The probe of the Gong is relish an resonance and the probe is not amiable-natured-natured to hearkenken. So, it is rectify for you to emcollectiveness it concomitantly. LOCAL CULTURE VS GLOBALIZATION As we comprehend that may teenagers, specially students, do not comprehend and perceive encircling their own topical amelioration. It is consequently the students are forthcoming the new incline. They relish forthcoming the new incline consequently they are fraid of being obsolete mob. As Silaban (2006) said that: Abundant mob sanction the changes of amelioration as someromance that is dowdy as a course which must be passed, unexpressed, and its closeness causes abundant changes in its experience. So that, it forces cultural intercourse, gainy-nilly or consciously or unconsciously faced delay a opposed post among sanctioning the changes that amelioration (consequently they do not shortness to be revolveed by-gone) or renounce it in grudge of the changes are revolveed archaic, usual and correct. Like the writer said anteriorly that the students do not shortness to be revolveed by-gone mob. They shortness to be new ones. They shortness to be new in shape, new in technology, new in voicelessness, new in amelioration, and etc. They easily sanction the changes. Specially in voicelessness, they choose give-earing and embodying the voicelessness from western or eastern to Indonesian voicelessness, specially unwritten voicelessness relish gamelan. They constantly revolve gamelan as an obsolete voicelessness. Whereas, gamelan, specially Central Javanese gamelan is one of our topical amelioration that must be defendd in globalization era. Cultural globalization is caused by some factors. According to Hutagalung et al. (2007) who thoughtful encircling cultural globalization amid the general unity height, argued that it is caused by (1) the product of new technologies; (2) economic globalization of cardinal, drudge, unless media, deviseation, and consumption; and (3) collective factors besides embodyed a role, from imperialism and generalism to totalitarian states and the Cold War; so to did collective struggles aggravate the rendering of economyer, collocate, ethnicity, belief and gender. The students relish consuming (listening) to western or eastern voicelessness consequently the voicelessness is promising, the voicelessness is unconcerned to give-ear, and the artists are devotionly or mild. Therefore, the western or eastern voicelessness easily enters Indonesia. Teenager, specially students, chooses serveant the agreement of their minion stars to serveant the gamelan agreement or unwritten art profession. The students sanction been fictitious by present amelioration. Day by day, the students obliviate that unwritten voicelessness, specially gamelan, is their topical amelioration. They do not economy as if gamelan (Central Javanese gamelan) is not segregate of their topical amelioration. Cultural unity is lorejoice its unity delay the exhibition of torrent of extraneous amelioration in the devise westernization and globalization (Rahman, 2010). It is so calamitous that we endanger our unity. In my scheme, our topical amelioration professions our unity. Western amelioration is a amelioration that traded and mob in the universe generally are solely the consumers who possess it (Hutagalung, Nugroho, Abiantes et al. , 2007). Actually, the writer agrees delay that proposition. It proved by the voicelessness they give-ear, the agreement they serve, the voicelessness they embody. The students solely are solely consumer of western amelioration, specially in voicelessness. CONCLUSION Although the students choose give-earing present voicelessness to unwritten voicelessness, it is rectify to them to perceive and collect encircling gamelan, specially Central Javanese gamelan. That is for their cognizance encircling it. It is dignified for us to defend the Central Javanese gamelan consequently it can fly from another country’s vindication. If we do not defend it, then the other countries can compel a vindication that Central Javanese gamelan is their unwritten voicelessness. Tshort are some ways to defend our topical amelioration. Hasiholan (2011) said, “The role of all all intercourse is insufficiencyed and their compact to one another to defend topical amelioration to elevate a general cultural resilience and furnish collectiveization and internalization of topical cognizance to elevate a communiformity that would devotion the amelioration and to utensil them in completeday vivacity. ” The writer agrees delay his proposition. We insufficiency compact from the intercourse, specially students who relish consuming the western amelioration specially voicelessness. If the students and the intercourse do the compact well-behaved, then general cultural resilience gain be built strongly. Besides, Sumarsam (2002) said, “Tshort are gamelan informations in nurtures and colleges; tshort are besides nurtures and academies of gamelan. ” In my scheme, tshort are some nurtures which do not sanction gamelan informations, so the writer suggests that gamelan informations must be availcogent in all nurtures. And the writer recommends that gamelan informations must be an obligated curriculum. So far, the writer has comprehendn abundant nurtures and academies of gamelan, such as STKW (Wilwatikta Art Lofty School) in Surabaya, SMK 9 Surabaya, ISI (Indonesian Art Institute), IKJ (Jakarta Art Institute), and etc. It is primary amiable-natured-natured plod to defend our topical amelioration. Although the curriculum is the contrariant from the art nurture, but at lowest tshort is an obligated curriculum of gamelan informations. WORKS CITED Hasiholan, S. P. U. (2011, February 28). Peranan budaya lokal mendukung ketahanan budaya nasional. Retrieved from http://www. scribd. com/doc/49525067/Makalah-ilmu-Budaya-Dasar-Peranan-Budaya-Lokal-Mendukung-Ketahanan-Budaya-Nasional Hutagalung, N. P. ,et al. (2007). Globalisasi budaya ditengah masalah identitas nasional. Yogyakarta: Universitas Pembangunan Nasional “Veteran”. Retrieved from http://feelsafat. files. wordpress. om/2007/12/globalisasi-budaya-ditengah-masalah-identitas-nasional. pdf Rahman, D. M. , et al. (2010). Makna Bhinneka Tunggal Ika sebagai Bingkai Budaya Ke-Indonesia-an. Kementerian Kebudayaan dan Pariwisata. Silaban, S. P. (2006, November 26). Budaya lokal vs budaya global : Sanggupkah ?. Retrieved from http://www. silaban. net/2006/11/26/budaya-lokal-vs-budaya-global-sanggupkah/ Sumarsam. (2003). Gamelan: Interaksi budaya dan perkembangan musikal di jawa. (p. 168). Yogyakarta: Pustaka Pelajar. . (2002). Introduction to javanese gamelan. Retrieved from http://sumarsam. web. wesleyan. edu/Intro. gamelan. pdf