Senin, 14 Januari 2013

JAVANESE POETRY

JAVANESE POETRY

Javanese poetry (poetry in the Javanese or especially the Kawi language; Low Javanese: tembang; High Javanese: sekar) is traditionally recited in song form. The standard forms are divided into three types, sekar ageng, sekar madya, and tembang macapat. All three types follow strict rules of poetic construction. These forms are highly influential in Javanese gamelan.

Sekar ageng

The most sacred are the sekar ageng (Low Javanese: tembang gedhé; "great songs"). These were traditionally held to be the most ancient of the forms, but Jaap Kunst believed that the indigenous forms represented an older tradition. The ancient forms of these, known as kakawin, use meters from Indian poetry, specifying the number of syllables in each line, their vowel length, and the location of caesurae. Exactly how this ancient form sounded when sung is hard to know, as the modern form has been influenced by gamelan structures. It may have resembled modern Indian or Balinese chant.
The modern form of sekar ageng are always in stanzas of four lines, and the number of syllables in each (lampah) is fixed and divided into parts (pedhotan) by caesurae. (Vowel length is no longer distinguished.) These indications are ordinarily indicated with the form; for example, sekar ageng Bongsa patra, lampah 17, pedhotan 4,6,7. According to Padmasasustra, there are 44 types of sekar ageng used in Surakarta.[1]
A sekar ageng is sometimes used as a type of buka (song introduction) known as a bawa. It is sung solo, or may be supported by the gendér. Only the first line is used in the introduction, and the rest may follow in the actual gendhing. Martopangrawit believes that this began only in the late 19th century, at the time of Paku Buwana IX (r. 1861-93).[2]

Sekar madya and tembang macapat

Sekar madya (Low Javanese: Tembang tengahan; "middle songs") are supposed to lie between the other two genres, but there is no agreement about which genres are considered sekar madya and which are tembang macapat (old orthography: machapat). Both of these, in contrast to sekar ageng, use varying number of lines of varying length, but always in a specific form. Furthermore, the vowel sound of the final syllable must match a specific pattern (note that this is different from syllable rime, as consonants that follow, if any, do not have to match). The pattern of the length of lines is known as guru wilangan, guru pètungan, or guru wichalan, while the pattern of vowels is known as dhongdhing or guru lagu. In the schemes below, the number represents the guru wilangan, while the letter is the guru lagu of the corresponding line.
In addition to these formal structures, each of these forms has a specific mood. The typical use is indicated after the form for many of the structures below.
Padmasoesastra listed 11 types of sekar madya forms used in Surakarta.[3] Many of them, however, are no longer used. The ones in modern use are:
  • Juru demung: 8A, 8U, 8U, 8A, 8U, 8A, 8U
  • Wirangrong: 8I, 8O, 10U, 6I, 7A, 8A
  • Balabah: 12A, 3É, 12A, 3Á, 12A, 3Á
Two meters were classified as macapat forms in the past, but are now considered sekar madya:
  • Megatruh (or Duduk wuluh): 12U, 8I, 8U, 8I, 8O
  • Gambuh: 7U, 10U, 12I, 8U, 8O (there are a number of variants of this form)
The common macapat forms are:
  • Dhangdhang gula: 10I, 10A, 8É(O), 7U, 9I, 7A, 6U, 8A, 12I, 7A; neutral character, used especially for introducing another poem
  • Sinom: 8A, 8I, 8A, 8I, 7I, 8U, 7A, 8I, 12A; didactic poems
  • Asmarandana: 8I, 8A, 8O(É), 8A, 7A, 8U, 8A; love poems
  • Kinanthi: 8U, 8I, 8A, 8I, 8A, 8I; love poems
  • Pangkur: 8A, 11I, 8U, 7A, 12U, 8A, 8I; violent passions or fighting
  • Durma: 12A, 7I, 6A, 7A, 8I, 5A, 7I; violent passions or fighting
  • Mijil: 10I, 6O, 10É, 10I, 6I, 6U; love poems
  • Mas kumambang: 12I, 6A, 8I, 8A; longing or homesickness
  • Puchung: 12U, 6A, 8I, 12A; neutral character, used for riddles
As an example, consider the following Kinanthi verse, a stanza from the Serat Centhini:
Ki Jayèngraga agupuh
anggamel rebab respati
rebabé langkung prayoga
watangan pinonthang gadhing
kosok pinatra pinrada
batok jamangan balenggin[4]
These forms are the basis of kidung poetry.
The text for these songs is frequently used in works for the gamelan, frequently sung by the gerong. Indeed, many modern gendhing share common macapat texts, especially Kinanthi, fit into their individual melodic pattern. Sumarsam believes that the singing of these forms led to the development of the early gendhing gerong, in the mid-19th century.[5] Wayang performances make use of the Mahabharata and Ramayana in macapat form, created in the 18th and 19th centuries.[6]

Notes

1.                              ^ Padmasoesastra, Tatatjara; publication no. 2 of Volkslectuur, 1891, page 249 et seq. Cited in Kunst, 123.
2.                              ^ Sumarsam, page 97.
3.                              ^ Padmasoesastra, Tatatjara; publication no. 2 of Volkslectuur, 1891, page 251. Cited in Kunst, 123.
4.                              ^ Serat Centhini, Canto 276, stanza 5; cited in Kunst, 224.
5.                              ^ Sumarsam, page 98-99.
6.                              ^ Sumarsam, page 96.

References

  • Kunst, Jaap. Music in Java: Its History, Its Theory and Its Technique. The Hague: Martinus Nijhoff, 1949. Pages 122-125 discuss the forms, and is the source for the article except when noted above.
  • Sumarsam. Gamelan: Cultural Interaction and Musical Development in Central Java. Chicago: University of Chicago Press, 1995.
  •  

    LISTEN TO THE FOLLOWING TEMBANG OF JAVA "MACAPAT"

     This picture of Sinden is retrieved from Video Sangga Buana Gunung Kidul


    This video is created by KISS
    The original voice is taken from MP3 Sekar Macapat Asmaradana 
    Slendro Patetmanyura by Sudarti

    Transcript:
    Sekar Macapat Asmaradana Slendro Patetmnayura bu Sudarti

    Pratikeling wong akrami
    Dudu brono, dudu rupa,
    Amung ati pawitane,
    Keno pisan luput pisan,
    Yen gampang luwih gampang,
    Yen angel angel kelangkung,
    Tan kena tinambak arta…

    Loose Translation:
    The initial capital to get married
    Neither wealth, nor appearance
    Only inner heart is,
    When you find one,  you lost one,
    If too easy, that easy,
    If too hard, that hard,
    It cannot be cured by money


     HAPPY LISTENING
    Always join us through this Blogspot:
    <Kediriinternationalschools.blogspot.com>

    For further information please contact:
    Jocelyne & Vanity
    Jln. Wisma Podomoro A/3 no 1, 64114
    Kediri – East Java.
    Phone: 0354 – 7150570
    HP: 08563482742
    Motto:
     “WE’RE COMMITTED TO SERVE YOU BETTER”


Minggu, 13 Januari 2013

LITERARY TERMINOLOGY


LITERARY TERMINOLOGY:


Author= the person who creates or begins something esp. an idea or plan; the writer of a book, newspaper article, play, poem etc.

Literary  = (typical) of literature; studying or producing literature.

Literature = written works which are of artistic value; all the books, article on a    particular subject; printed material giving information.

Prose = written language in its usual forms as opposed to poetry.

Prosaic = dull; uninteresting; lacking feeling and imagination.

Poem = a piece of writing, arranged in patterns of lines and sounds, expressing  some thought, feeling, or human experience in imaginative language.

Poet = a person who writes good or serious poems.

Poetic = of or like poets or poetry; having qualities of deep feeling and effortless expression.

Poetical = written like the form of poems.

Poetic license = the freedom of change facts, not to obey the usual rules, etc. as allowed to poets, painters, etc.

Poetic laureate = a poet appointed to the British Royal Court, who writes poems on important occasions.

Play = a piece of writing to be performed by actors in a theatre or on television or radio.

Playwright = a writer of plays; Dramatist.

Stage = the raised floor on which plays are performed in a theatre.

Stage direction = a written description of something an actor must do on the stage in performing a play.

Stage manager = the person in charge of a theatre stage during performance.

Theatre = a special building or place for the performance of plays.

Theatricals = stage performances.

Writer = a person who writes esp. as a way of earning money.

Listen to the following video, then try to understand what about it is.
Play it 3 times.

This video is created by KISS
The original voice from MP3 Review Literature - American English,USA

See more in : http://en.wikipedia.org/wiki/William_Shakespeare

HAPPY LISTENING


For further information please contact:
Jocelyne & Vanity
Jln. Wisma Podomoro A/3 no 1, 64114
Kediri – East Java.
Phone: 0354 – 7150570
HP: 08563482742
Motto:
 “WE’RE COMMITTED TO SERVE YOU BETTER”
<Kediriinternationalschools.blogspot.com>


GOOD LUCK


Jumat, 11 Januari 2013

LISTENING PRACTICE TEST 4


LISTENING PRACTICE TEST 4
PRAKTIK UJIAN LISTENING:
PERINTAH 1:
  1. SIAPKAN KERTAS DAN PENSIL
  2. LIHAT DAN DENGARKAN VIDEO INI.
  3. JAWABLAH PERTANYAAN YANG ADA DISCREEN.
  4. MAINKAN SETIAP VIDEO INI 2 X SAJA.
  5. WAKTU 5 MENIT

This Video is created by KISS
Original Voice is taken from Kernel Lesson’s Intermediate
Eurocenter 1971 – Longman Group Ltd.


 
PERINTAH 2:
  1. SIAPKAN KERTAS DAN PENSIL
  2. LIHAT DAN DENGARKAN VIDEO INI.
  3. JAWABLAH PERTANYAAN YANG ADA DISCREEN.
  4. MAINKAN SETIAP VIDEO INI 2 X SAJA.
  5. WAKTU 5 MENIT
This Video is created by KISS
Original Voice is taken from Kernel Lesson’s Intermediate
Eurocenter 1971 – Longman Group Ltd.


PRAKTIKAN LISTENING VIDEO INI BERULANG ULANG DENGAN WAKTU YANG NYAMAN BAGI ANDA.

HAPPY LISTENING.

Always join us through this Blogspot:
<Kediriinternationalschools.blogspot.com>
For further information please contact:
Jocelyne & Vanity
Jln. Wisma Podomoro A/3 no 1, 64114
Kediri – East Java.
Phone: 0354 – 7150570
HP: 08563482742
Motto:
 “WE’RE COMMITTED TO SERVE YOU BETTER”



Kamis, 10 Januari 2013

LISTENING PRACTICE FOR TEST 3

LISTENING PRACTICE FOR TEST 3
BAGAIMANA CARA MELATIH LISTENING?
BERIKUT TIPS:
1. Gunakan cara free listening: yaitu kita mendengarkan percakapan atau lagu dalam bahasa Inggris berulang ulang.
2. Dengan mengulang - ulang listening tersebut Coba kita menangkap satu atau dua kata saja secara acak yang ada di cassette ataupun MP3 atau Video.
3. Tulislah kata yang mampu ditangkap sebanyak banyaknya.Misal: kita mendengar kata YES tulis Yes, dengar kata NO tulis No, usahakan sebanyak banyaknya. Tidak dengar apa apa TIDAK USAH DITULIS.
4. Tingkatkan dari per kata menjadi kalimat pendek, misal dengar: YES I ..... NO.....don't....
5. Tingkatkan menjadi kalimat yang bermakna setiap kalimat yang mampu kita tangkap dari Listening itu.
6. Kondisi cassette, MP3 atau Video tetap berjalan normal tidak perlu dihentikan (mulai start sampai habis)
7. Volume suara perlu dikeraskan.
8. Usahakan diruangan tertutup tidak mengganggu orang lain.

Berikut ini ada: Video untuk Listening Practice.
FREE LISTENING PRACTICE
Tugas anda adalah:
1. Menulis setiap kata pada tempat yang kosong di lagu tersebut
2. Artikan kalimat yang ada dalam Lagu di Listening dalam video ini.
3. MAINKAN VIDEO INI 3 X sambil mendengarkan dan menulis kata / kalimat yang mampu anda tangkap
VIDEO FOR LISTENING PRACTICE - REVIEW MUSIC


Big Bill Broonzy (June 26, 1893 – August 15, 1958)



VIDEO- GOOD LIQUOR GONNA CARRY ME DOWN
Big Bill Broonzy Good Liquor Gonna Carry Me Down
 Year: 1928 - 1935
 

Big Bill Broonzy Good Liquor Gonna Carry Me Down Lyrics

Songwriters: BROONZY, WILLIAM LEE CONLEY

Lord, I know ___________________, 'bout sixteen years old
She says, "Bill stop drinkin', and I will satisfy your soul"
But I just ___________ a drinkin', yes I keep on drinkin'
Yeah I just keep on a drinkin', 'til good liquor carry me down

Lord, my woman told me, 'bout _____________ years ago
"Bill, you gonna drink one of these mornings and you'll never drink no more"
But I will just keep on a drinkin', yes I keep on drinkin'
Yeah I just keep on a drinkin', 'til good liquor ________ down

Lord, I _____________ in the morning, holding a bottle tight
When I lay down at night, momma there's a gallon out of sight
Because I just keep on a drinkin', yes I ____________ drinkin'
Lord, I just keep on a drinkin, 'til good liquor carry me down

Yes, I went to the ____________, with my head in my hands
The doctor said, "Big Bill, I think I'll have to give you monkey glands"
__________________ you just keep on a drinkin', yes I keep on drinkin'
I'm gonna keep on a drinkin', 'til good liquor carry me down

Lord, my woman ______________ to stop drinkin', and come on home
say, "If you don't, Big Bill, some other man gonna carry your _____________ home"
But I'm just gonna keep on a drinkin', yes I'm gonna keep on drinkin'
I'm just gonna keep on a ______________', 'til good liquor carry me down.

DO YOU WANT TO KNOW MORE ABOUT BIG BILL BROONZY?
Open up this website:

PRAKTIKAN LISTENING VIDEO INI BERULANG ULANG DALAM WAKTU YANG NYAMAN BAGI ANDA.

HAPPY LISTENING.

Always join us through this Blogspot:
<Kediriinternationalschools.blogspot.com>
For further information please contact:
Jocelyne & Vanity
Jln. Wisma Podomoro A/3 no 1, 64114
Kediri – East Java.
Phone: 0354 – 7150570
HP: 08563482742
Motto:
 “WE’RE COMMITTED TO SERVE YOU BETTER”

 

Rabu, 09 Januari 2013

LISTENING PRACTICE FOR TEST 2

LISTENING PRACTICE FOR TEST 2
BAGAIMANA CARA MELATIH LISTENING?
BERIKUT TIPS:
1. Gunakan cara free listening: yaitu kita mendengarkan percakapan atau lagu dalam bahasa Inggris berulang ulang.
2. Dengan mengulang - ulang listening tersebut Coba kita menangkap satu atau dua kata saja secara acak yang ada di cassette ataupun MP3 atau Video.
3. Tulislah kata yang mampu ditangkap sebanyak banyaknya.Misal: kita mendengar kata YES tulis Yes, dengar kata NO tulis No, usahakan sebanyak banyaknya. Tidak dengar apa apa TIDAK USAH DITULIS.
4. Tingkatkan dari per kata menjadi kalimat pendek, misal dengar: YES I ..... NO.....don't....
5. Tingkatkan menjadi kalimat yang bermakna setiap kalimat yang mampu kita tangkap dari Listening itu.
6. Kondisi cassette, MP3 atau Video tetap berjalan normal tidak perlu dihentikan (mulai start sampai habis)
7. Volume suara perlu dikeraskan.
8. Usahakan diruangan tertutup tidak mengganggu orang lain.

Berikut ini ada: Video untuk Listening Practice.
FREE LISTENING PRACTICE
Tugas anda adalah:
1. Menulis setiap kata yang anda dengar sebanyak banyaknya.
2. Tulislah setiap kalimat jika mampu.
3. Tulislah kalimat yang bermakna sesuai dengan logika percakapan di Listening dalam video ini.
4. MAINKAN VIDEO INI 3 X sambil mendengarkan dan menulis kata / kalimat yang mampu anda tangkap
VIDEO FOR LISTENING PRACTICE NEWS ITEM 
CRUISE position is viewed from satellite photo.



 This video is taken from ABC NEWS Radio Australia 20120115

PRAKTIKAN LISTENING VIDEO INI BERULANG ULANG DALAM WAKTU YANG NYAMAN BAGI ANDA.

HAPPY LISTENING.

Always join us through this Blogspot:
<Kediriinternationalschools.blogspot.com>
For further information please contact:
Jocelyne & Vanity
Jln. Wisma Podomoro A/3 no 1, 64114
Kediri – East Java.
Phone: 0354 – 7150570
HP: 08563482742
Motto:
 “WE’RE COMMITTED TO SERVE YOU BETTER”