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<<< Welcome to Angklung Web Institute (AWI)! This website is a medium of information exchange about angklung knowledge and competence, especially diatonic angklung in orchestral composition. The Father of Angklung Daeng Sutigna first created the diatonic angklung in 1938. Until now, angklung still has to face many challenges of identity to be acknowledged as one of world’s standard music instruments. One major problem is that there is no firm standard yet in constructing, tuning, forming, playing, and compositing angklung. Another problem is that until today, an angklung music community as a media of education and industrialization of the angklung music hasn’t been founded yet. Through this website we would like to ask you who have a great concern to the development of angklung to pass this piece of information to the world in order to support this developing music instrument. Through this website we would like to convey an angklung-ical activity to an angklung team or community and hopefully someday the industrialization of angklung can be realized. Last, it is our duty to raise our angklung to be appreciated just like the other world’s standard music instruments. Thank you.          <<< Welcome to Angklung Web Institute (AWI)! This website is a medium of information exchange about angklung knowledge and competence, especially diatonic angklung in orchestral composition. The Father of Angklung Daeng Sutigna first created the diatonic angklung in 1938. Until now, angklung still has to face many challenges of identity to be acknowledged as one of world’s standard music instruments. One major problem is that there is no firm standard yet in constructing, tuning, forming, playing, and compositing angklung. Another problem is that until today, an angklung music community as a media of education and industrialization of the angklung music hasn’t been founded yet. Through this website we would like to ask you who have a great concern to the development of angklung to pass this piece of information to the world in order to support this developing music instrument. Through this website we would like to convey an angklung-ical activity to an angklung team or community and hopefully someday the industrialization of angklung can be realized. Last, it is our duty to raise our angklung to be appreciated just like the other world’s standard music instruments. Thank you.          <<< Welcome to Angklung Web Institute (AWI)! This website is a medium of information exchange about angklung knowledge and competence, especially diatonic angklung in orchestral composition. The Father of Angklung Daeng Sutigna first created the diatonic angklung in 1938. Until now, angklung still has to face many challenges of identity to be acknowledged as one of world’s standard music instruments. One major problem is that there is no firm standard yet in constructing, tuning, forming, playing, and compositing angklung. Another problem is that until today, an angklung music community as a media of education and industrialization of the angklung music hasn’t been founded yet. Through this website we would like to ask you who have a great concern to the development of angklung to pass this piece of information to the world in order to support this developing music instrument. Through this website we would like to convey an angklung-ical activity to an angklung team or community and hopefully someday the industrialization of angklung can be realized. Last, it is our duty to raise our angklung to be appreciated just like the other world’s standard music instruments. Thank you.          <<< Welcome to Angklung Web Institute (AWI)! This website is a medium of information exchange about angklung knowledge and competence, especially diatonic angklung in orchestral composition. The Father of Angklung Daeng Sutigna first created the diatonic angklung in 1938. Until now, angklung still has to face many challenges of identity to be acknowledged as one of world’s standard music instruments. One major problem is that there is no firm standard yet in constructing, tuning, forming, playing, and compositing angklung. Another problem is that until today, an angklung music community as a media of education and industrialization of the angklung music hasn’t been founded yet. Through this website we would like to ask you who have a great concern to the development of angklung to pass this piece of information to the world in order to support this developing music instrument. Through this website we would like to convey an angklung-ical activity to an angklung team or community and hopefully someday the industrialization of angklung can be realized. Last, it is our duty to raise our angklung to be appreciated just like the other world’s standard music instruments. Thank you.          <<< Welcome to Angklung Web Institute (AWI)! This website is a medium of information exchange about angklung knowledge and competence, especially diatonic angklung in orchestral composition. The Father of Angklung Daeng Sutigna first created the diatonic angklung in 1938. Until now, angklung still has to face many challenges of identity to be acknowledged as one of world’s standard music instruments. One major problem is that there is no firm standard yet in constructing, tuning, forming, playing, and compositing angklung. Another problem is that until today, an angklung music community as a media of education and industrialization of the angklung music hasn’t been founded yet. Through this website we would like to ask you who have a great concern to the development of angklung to pass this piece of information to the world in order to support this developing music instrument. Through this website we would like to convey an angklung-ical activity to an angklung team or community and hopefully someday the industrialization of angklung can be realized. Last, it is our duty to raise our angklung to be appreciated just like the other world’s standard music instruments. Thank you.          <<< Welcome to Angklung Web Institute (AWI)! This website is a medium of information exchange about angklung knowledge and competence, especially diatonic angklung in orchestral composition. The Father of Angklung Daeng Sutigna first created the diatonic angklung in 1938. Until now, angklung still has to face many challenges of identity to be acknowledged as one of world’s standard music instruments. One major problem is that there is no firm standard yet in constructing, tuning, forming, playing, and compositing angklung. Another problem is that until today, an angklung music community as a media of education and industrialization of the angklung music hasn’t been founded yet. Through this website we would like to ask you who have a great concern to the development of angklung to pass this piece of information to the world in order to support this developing music instrument. Through this website we would like to convey an angklung-ical activity to an angklung team or community and hopefully someday the industrialization of angklung can be realized. Last, it is our duty to raise our angklung to be appreciated just like the other world’s standard music instruments. Thank you.          
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AWI Home arrow AWI Course Material arrow Angklung Pendidikan - Metoda Latihan arrow THE WINNER OF THE TEN MINUTES

THE WINNER OF THE TEN MINUTES 印刷 E-mail
投稿者 YUSRANI SALMAN AWI   
2004年 October 14日 Thursday
Sepuluh menit pertama bagi seorang pelatih angklung adalah saat-saat yang paling krusial. Sepuluh menit pertama inilah yang akan menentukan lancar tidaknya prosesi latihan angklung selanjutnya. Tantangan bagi seorang pelatih adalah bagaimana untuk membentuk image dan wibawa di hadapan grup yang akan dilatihnya. Image dan wibawa adalah ‘branding’. Branding yang akan menaikkan ‘nilai’ jual pelatih atau malah menurunkan ‘daya tawar’ pelatih.

Oleh karena itu seorang pelatih angklung harus benar-benar mempersiapkan ‘produk’ yang akan ditawarkannya agar bisa laku. Maka, diperlukan persiapan yang matang dan terencana dengan baik. Persipan-persiapan sebelum latihan dan strategi-srategi yang akan diterapkan selama melatih angklung. Maka pelatih harus tahu dahulu apa yang harus dipersiapkan untuk memulai latihan yang efektif.

Beberapa hal yang harus diperhatikan oleh pelatih dalam mempersiapkan pertempuran di sepuluh menit pertama diantaranya adalah :


1.      Modal Pelatih.

Modal pelatih ada tiga. Percaya diri, penguasaan lagu dan penguasaan massa. Ketiga hal ini penting untuk dimiliki.


2.      Menetapkan tujuan latihan.

Hal ini sangat penting, karena akan menentukan strategi latihan. Dalam menentukan tujuan latihan, seorang pelatih harus bisa bersikap terbuka dan tidak terpaku pada rencana awal. Hal ini penting karena seringkali suasana latihan tidak mendukung rencana yang telah dibuat. Pelatih harus bisa mempersiapkan diri terhadap berbagai kemungkinan yang bisa mengganggu renacana latihan. Misalnya, jumlah pemain yang hadir sangat sedikit, atau lebih banyak dari perkiraan


3.      Waktu latihan efektif.

Yaitu waktu yang benar-benar terpakai untuk mempelajari  lagu. Tidak termasuk di dalamnya waktu untuk mempersiapkan partitur, distribusi, pembagian angklung dan tata letaknya.

Yang perlu diperhatikan adalah bahwa ketika merencanakan waktu untuk mulai latihan, maka waktu itu adalah waktu memulai latihan efektif. Contohnya, kita sepakat untuk memulai latihan jam 1 siang, maka jam 1 adalah waktu efektif memulai latihan. Jangan karena mempersipkan partitut, pembagian angklung dan lain-lain menjadikan latihan efektif dimulai jam 1.30. Sebuah kerugian yang sangat besar. Bagi pelatih dan bagi proses latihan.

Mengapa waktu efektif ini begitu penting? Karena seorang pemain angklung datang tepat waktu pada waktu yang telah disepakati bersama, ‘mindset’nya adalah waktu latihan efektif. Ketika waktu latihan efektif ‘molor’ atau mundur akibat persiapan yang lain-lain, maka image yang terbentuk untuk pelatih adalah ‘ngaret’ atau ‘not punctual’. Ketika image itu terbentuk, maka itu adalah sebuah kekalahan bagi pelatih. Produknya tidak laku.

Maka, Persipkanlah segala penunjang latihan sebelum waktu efektif latihan efektif. Jika ini terlaksana, maka pelatih memenangkan 1 daerah dalam pertempuran sepuluh menit pertama ini. Branding yang didapat : ‘Punctual’.


4.    Awareness pemain angklung.

Sangat penting bagi pelatih untuk menguasai ‘floor’ latihan. Ketika memulai latihan, maka pengusa tunggal dalam latihan adalah pelatih. Semua instruksi datang dari pelatih, tidak boleh ada yang memberi perintah selain pelatih. Ketika ada kekuatan lain selain pelatih dalam pemberian instruksi, maka akan menimbulkan dualisme kepemimpinan. Hal ini dapat menurunkan wibawa pelatih dan menimbulkan kebingungan para pemain. Maka akan sulit untuk mencapai tujuan latihan. Untuk menjadi jenderal lapangan ini, maka pelatih harus mendapatkan ‘total awareness’ dari pemain. Oleh karena itu pelatih harus memiliki strategi khusus untuk mendapatkan ‘total awareness’ para pemain angklung di sepuluh menit pertama latihan.

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By: aden

[2012-03-08 08:03:57]

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Pak, punten nanya kalau partitur Spirit of Youth disini ada...

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[2011-10-15 05:02:57]

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Silahkan download Tabel Hidayat dengan cara sebagai...

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pak tabel pembagian angklung menggunakan Tabel Hidayat...

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